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I
I
IBHS
The University of Chicago Publications
IN Religious Education
EDITED BY
ERNEST D. BURTON SHAILER MATHEWS
THEODORE G. SOARES
PRINCIPLES and methods OF RELIGIOUS
education
THE DRAMATIZATION OF
BIBLE STORIES
THE UViyERSITT OF OHIOAGO PBEBS
CHICAGO. ILLINOIS
THE BAXEB AND TATLOB COMPAnT
SBW TOU
THE CAMBRIDGE UmTEBSITT PBSSS
LOiooa
THE MARUZEN-KABUSHIKI-KAISHA
ffOKTO, OflACA, ETOIO, nXKUOKA, BIXDAI
THE MISSION BOOK COMPAIIT
A MEPHERD
THE DRAMATIZATION
OF BIBLE STORIES
AN EXPERIMENT IN THE RELIGIOUS
EDUCATION OF CHILDREN
)/llJ .Elizabeth Erwin (Miller)
Tit Sciael tf EdacalieB
THE UNIVERSITY OF CHICAGO PRESS
CHICAGO, ILUNOIS
•
<
CoPYUGHT 19x8 By
The Umiversity of Chicago
All Rights Reserved
Published April 19x8
Second Impression January 19x9
Third Impression December X9X9
Fourth Impression June X9ao
Fifth Impression November 1930
Sixth Impression May X9ax
Seventh Impression July X93X
Eighth Impression April X932
Composed and Printed By
The Unlversitjr of Chicago Preaa
Chicago. Illinois, U.S.A.
ti
O
TO MY LITTLE FRIENDS, THE CHILDREN IN THE
r\ DRAMATIC CLUB OF THE HYDE PARK CHURCH OF DISCIPLES,
THIS BOOK IS LOVINGLY DEDICATED
415387
GENERAL PREFACE
The progress in religious education in the last few
years has been highly encouraging. The subject
has attained something of a status as a scientific
study, and significant investigative and experimen-
tal work has been done. More than that, trained
men and women in increasing numbers ha\se been
devoting themselves to the endeavor to work out
in churches and Sunday schools the practical prob-
lems of organization and method.
It would seem that the time has come to pre-
sent to the large body of workers in the field
of religious education some of the results of the
studies and practice of those who have attained
a measure of educational success. With this end
in view the present series of books on "Principles
and Methods of Religious Education'' has been
imdertaken.
It is intended that these books, while thoroughly
scientific in character, shall be at the same time
popular in presentation, so that they may be avail-
able to Sunday-school and church workers every-
where. The endeavor is definitely made to take
into accoxmt the small school with meager equip-
ment, as well as to hold before the larger schools
the ideals of equipment and training.
ix
X General Preface
The series is planned to meet as far as possible all
the problems that arise in the conduct of the educa-
tional work of the church. While the Sunday
school, therefore, is considered as the basal organi-
zation for this piurpose, the wider educational work
of the pastor himself and that of the various other
church organizations receive due consideration as
parts of a unified system of education in morals
and religion. t
The Editors
CONTENTS
PACK
List of Illustrations xiii
Introduction by Edward Scribner Ames ... i
CHAPTEK
I. Educational Aims in Dramatization . . 5
II. The METfiOD of Dramatization .... 9
III. The Dramatization OF "Joseph" ... 17
IV. The Dramatization of " David and Goliath " 44
V. The Dramatization of "Moses in the Bul-
rushes" 52
VI. The Dramatization OF "Ruth" .... 59
VII. The Dramatization of "Queen Esther" 68
Vin. The Dramatization of "Abraham and the
Three Guests" 84
IX. The Dramatization of "Daniel in the
Lions' Den" 93
X. The Dramatization of New Testament
Parables 98
XI. The Dramatic Qualities in a Good Story . 109
XII. Bible Stories Suitable for Dramatization 113
XIII. Stage Setting and Properties .... 130
XIV. Costuming 144
XV. The Organization of a Church Dramatic
Club 152
Index 161
xi
LIST OF ILLUSTRATIONS
A Shepherd Frontispiece
PIGUKE PAGE
1. Pharaoh's Court 42
2. A Scene From David and Goliath .... 47
3. Esther and Mordecai 73
4. Esther Dances before the King .... 75
5. The King Holds Out the Scepter to Esther . 79
6. Queen Esther Pleads for Her People 81
7. The Three Guests Bless Abraham AND Sarah . 88
8. The Wise and Foolish Virgins loi
9. The Good Samaritan 104
10. Water Jugs and Other Clay Utensils 132
11. Woman Carrying Water Jug 133
12. Ancient Wells IN Palestine 134
13. Ancient Weapons 135
14. A Shepherd's Sling and Loom for Weaving
Sling 136
15. Sickles 137
16. Scepter 138
17. Shields 139
18. Trumpets 140
19. Signet Ring 141
20. Lamp 141
21. Egyptian Designs 142
22. Het.mf.ts and Crowns 143
•• •
XUl
\
xiv List of Illustrations
nCURB PAGE
23. A Group of Children, Showing Costumes and
A Trumpet 145
24. The Costume of Abraham 147
25. Two Kinds of Costumes — ^the Rich Shepherd
AND THE Servant 148
26. Costumes Showing Sandals Made by the
Children 149
27. Costumes . . 150
INTRODUCTION
By Edwaio) Scribner Ames
This book is its own best commendation, for it
is a most convincing record of an important experi-
ment in education. It is the more interesting
because it is a real contribution to. educational
method from the field of religious education, which
too often only appropriates and imitates what has
been achieved elsewhere.
This experiment is founded upon the powerful
dramatic impulse of children and upon the educa-
tive value of the natural expression of that impulse
under the mutual self-criticism of the participating
group. The function of the leader has been that
of an unobtrusive member of the group contributing
such suggestions from a wider experience and
deeper insight as would naturally elicit and guide
that criticism. That this fine art of teaching has
been realized with unusual skill in this experiment
will be apparent to the discerning readers of this
record, as it has been by those who have watched
the progress of the work itself.
Too much emphasis cannot be given to the fact
that the primary aim of this use of dramatization
is the education of the children and not the
/
/
\
2 The Dramatization of Bible Stories
entertainment of spectators, although, when such
dramatization is rightly estimated, nothing could
be more genuinely entertaining. Those who are
expecting to find here ready-made plays for chil-
dren, with directions for staging them, wiU be
properly disappointed, while those who are seeking
illustrations of vital methods of education through
the cultivation and use of the dramatic impulse
will be amply rewarded.
The latter will appreciate the frank portrayal
of the early and cruder efforts of the children and
their own critical reactions due to further reflec-
tion and experimentation. These will understand
something of the ability and patience that Miss
Miller has employed in allowing the native impulse
to develop naturally and to mature through the
reactions of the children themselves. They will
realize that the little people actually formulated
the scenes and the Unes of the dramas even if it
required many weeks in some cases to do so; that
it is better for the actors to make their own cos-
timies and stage properties, however simple they
may be; that it is more educative for each child
to be familiar with all of the parts, and thus with
the drama as a whole, than to be coached ever so
cleverly to impersonate a single character; and
that facility and power in dramatization are thus
attained which are permanent sources of pleasure
and understanding.
Introduction 3
It need scarcely be added that the biblical stories
are exceptionally well suited to such use and that
when so employed they yield ^heir profound
religious quaKty directly in deep and lasting impres-
sions. The children who have been so fortimate
as to belong to this dramatic club not only "know ''
these stories, but they have lived them in an inti-
mate and durable experience.
/
CHAPTER I
EDUCATIONAL AIMS IN DRAMATIZATION
Dramatization is not commonly recognized as
a means of vitalizing the religious education of
children. The public school has found it to be
one of the most efifective methods for enriching the
pupil's ideas of given units of subject-matter and
for leading to the establishment of permanent
interests and of habitual modes of action.
The use of dramatization in the school in order to
accomplish these ends finds its justification in cer-
tain fundamental principles of teaching. Subject-
matter is so presented that the important ideas
stand out clearly. These ideas are mastered by
utilizing them in some form of activity which leads
to self-expression on the part of the children.
Judgments are formed and conclusions are reached
when children enter actively into a situatioij. which
presents a problem; ideas become their own
through experience. Through dramatization chil-
dren give expression to these ideas in the light
of their own interpretation. The formulation of
standards, the placing of values, and the realization
of truths and ideals follow as direct results of
actively entering into the life-experience of others.
6 The Dramatization of Bible Stories
From a psychological point of view ideas and
ideals, whether religious or secular, are developed
according to the same general laws. Furthermore,
the principles of teaching which are effective in the
daily classroom must be equally significant in
religious training. It follows, therefore, that
dramatization and other forms of self-expression
are as valuable in attaining the aims of the Sunday
school as they are in teaching the curriculiun of
the day school. Through dramatizing a Bible
story children come into a comprehension of the
life-experiences of a highly religious people; theyj
are forming their own standards and ideals through]
meeting and solving the simple life-problems of thtf
Hebrews. Each child has as great an opportunity^
for self-expression through dramatizing a Bible
story as that afforded through dramatizing any
other story. He not only develops his individual-
ity, but through this kind of work he must neces-
sarily come into the realization of his place within
the group, as is the case in all well-directed drama-
tization.
The period is rapidly passing in which dramatics
is looked upon by church members as being sinful
and not in any way to be connected with the
church. This view is a relic of a conception of
religion in which all forms of freedom and pleasure
were considered evil. People interested in religious
education are now reaUzing that dramatization.
V
Educational Aims in Dramatization 7
IS not an activity foreign to children, but that it is jj'^
an outgrowth of the play interest which is naturaljH
to all children. They are aware of the fact that^
dramatization becomes evident in the earliest
stages of childhood through the desire of children!
to imitate in play the surrounding social activities.:
Many churches have already made use of these,
natural tendencies by incorporating organized^
play as one of their activities. Since dramatiza-.
tion is but a specialized form of organized play,*
and inasmuch as it can be used very effectively in
vitalizing the religious training which all children
should receive, it deserves a wider recognition and
adoption.
This book contains a description of a children's
dramatic club which has been conducted as a part
of the work of the Sunday school of the Hyde Park
Church of Disciples, Chicago, Illinois, for the
purpose of accomplishing the ends stated above.
Before this dramatic club was organized a small
amount of dramatization was attempted in certain
of the classes during the Sunday-school period.
The enthusiastic response from the children to
this new phase of the work revealed the need for
more of this kind of activity, and as a consequence
it was detided to devote one hour each Sunday
afternoon to the dramatization of Bible stories.
The membership of the club included children
ranging from six to fourteen years of age. The
8 The Dramatization of Bible Stories
average attendance has been from twenty to thirty
children each Sunday throughout these four years
of the club's existence.
This organization was attempted more or less
as an experiment with the hope that definite results
could be accomplished. The practical problems
which have arisen, the details of method of proce-
dure, and the results which have been secured will
be discussed in the following chapters.
Several of the stories are given in the dramatic
form which the children have worked out. This
is done for the sake of showing what kind of a
result may be secured. It is hoped that these
plays, as they are written here, wiU not be given
to children to learn and act; such a procedure
would be entirely contrary to the spirit and purpose
in which this experiment is set forth.
CHAPTER II
THE METHOD OF DRAMATIZATION
Two very different aims are revealed in the
present-day employment of dramatization. Chil-
dren itre often required to give a dramatic produc-
tion at some entertainment or social event. For
this purpose a story is selected which has already
been put into dramatic form. The parts are
assigned by the leader, and the children are asked
to memorize these parts in exact form and order.
The children are then trained to give their parts
according to directions. Throughout the prepara-
tion of the play the finished production is the goal
of endeavor. In such instances as this the chil-
dren are a mieans to an end, and their own train-
ing and development are usually sacrificed in
the leader's attempt to secure a highly finished
product.
In contrast to the case just mentioned, drama-
tization is looked upon as an important educa-
tional factor in the development of children. From
this point of view dramatization is utilized in
developing on the part of the child intense and
permanent interests in the words and deeds of
noble characters, in developing power of natural
lo The Dramatization of Bible Stories
expression in them as individuals and as members
of a group, and in raising standards of action to
higher levels by giving forceful expression to worthy-
ideals. These aims are realized through the use
of informal methods which give the children abun-
dant opportunity for initiative and choice. The
children themselves prepare their dramatization
under the guidance of a leader who has a vision of
the results which may be secured and who is skilful
in directing the activities toward these ends.
The little dramatic club herein described adopted
at the outset the point of view outlined in the pre-
ceding paragraph. Its organization was based
on the beHef that the development of boys and
girls is a much more vital consideration than the
development of a dramatic production. Through-
out its history the chief purpose of the club has
been to promote the growth of children through
the free, spontaneous dramatization of Bible
stories. In order to accomplish this aim, an in-
formal method of working out dramatizations has
been used. The public presentation of a play is
only incidental to the children; there is no need
for them to act out a story that has been dramatized
by someone else. Their aim is realized in the joy
of actually living the story over each time they play
it, though this may result in the highest form
of entertainment. That children should "speak
lines" given them to memorize for the sake of
The Method of Dramatization ii
entertainment is deadly — to the child as well as
to the audience.
There is some difference of opinion as to the
value of the classic language of the Bible for chil-
dren, and many advocate the use of modern or
simplified versions. If, however, the children have
made their own efforts to dramatize the story,
using first of all their own words, it is easy to help
them to adopt much of the beautiful classic lan-
guage in putting the work into its final form. The
biblical wording helps to give the play its proper
dignity and atmosphere, at the same time acquaint-
ing the children with the exact language of a piece
of good literature.
The method of procedure which is followed in
leading children to work out their own dramatiza-
tions varies slightly according to circumstances but
in the main is as follows:
A story is chosen by the leader which includes
the elements essential for a good dramatization,
and it is told to the children in such a way that the
action or events are emphasized. Direct discourse
is used in the telling, and an effort is made to
develop simple and vivid mental pictures. The
children divide the story into its most important
pictures or scenes. They then suggest in detail
what should take place in the first scene, and some
of them are asked to act it out as they think
it should be done. This first presentation is
12 The Dramatization of Bible Stories
sometimes stiff and more or less self-conscious. The
leader raises such questions as, "Which parts did
these children do best?'' "Why?'' ."Where can
they improve it ? " " What would you do to make
the part better?'' "What do you think should
have been said here ? " This leads to constructive
criticism of the scene by the children themselves
rather than by the leader in charge. Each child
is eager to offer suggestions at this point and is
anxious for an opportunity to give his own inter-
pretation of the part by acting it out. He formu-
lates his. words as he acts. He forgets himself
in the genuine interest which arises as he relives
the experience of someone else. Each scene is
developed in a similar manner.
The leader encourages freedom in individual
interpretation, yet she is ever keeping before the
children the fact that they are trying to give a
true portrayal of the characters or conditions. It
is often valuable to have a discussion of individual
characters for the purpose of securing clear ideas
concerning them. After all have tried various
parts and have offered many suggestions, they
may be led to choose that interpretation which
seems most adequate, or they may all work out
the interpretation of a part which will involve
the ideas of many. After the story has been played
through a few times, each child should be able to
assume any character. It is an essential part of
The Method of Dramatization 13
this method to see that every child has a different
part>each time.
Very often, when the play develops to this stage,
some one child, or several, will suddenly become
aware of repetitions in the scenes and will suggest
that some scenes are unnecessary. It is then the
time to refer to the number of scenes in a good
drama, and to lead the children to realize that in
any good play much is left to the imagination of
the audience, and that only the essential scenes
need be shown. By, means of discussions the play
is worked over again, and it is finally reduced to the
three or four scenes that seem absolutely necessary.
In many instances the dramatization needs no
further development. None of the words have
been accepted as definite, for, although the thought
given is the same each time, exactly the same words
are ,never said twice. The story is interpreted
sUghtiy differently with each performance. This
interpretation, without obtaining a highly finished
result, is best for short stories or incidents. Fables
and parables may be used well in this way. The
action follows continuously with the development
of the thought.
In the case of a story which has a more detailed
plot and which involves more complicated situa-
tions the development may go further : the wording
is carefully worked out by the children and the
language of the Bible is employed. The words
14 The Dramatization of Bible Stories
which are finally used by the children may be
composite results developed by the group as a
whole, or after they have gone as far as they
can with them the leader, or a committee com-
posed of several children with the leader, may
suggest a final form which is good from a literary
standpoint.
Children either volunteer or are chosen by the
others to take finally certain parts. There is a
marked socializing influence evident in the fact
that a child is chosen by the other children for the
good of the group and not for self-aggrandizement
or partiality toward a friend. It is always the
case after a few rehearsals that each child knows
every part and can easily adapt himself to the part
of any character. There is no trouble about a
substitute when one or two children fail to arrive.
Each child has lived the story until it has become
a very vital part of him. The finished product
belongs to the children; they have developed it;
it is not the production of someone else which they
have learned by heart.
At the final presentation of the play the children
invite parents and friends. This is not thought
of as a climax toward which they have been work-
ing; it is hardly more important than any of the
rehearsals; it is simply an opportunity for others
to enjoy the story with them. The encouragement
of this attitude toward the pubKc presentation
The Method of Dramatization 15
of a play is important in that it does away with the
self-conscious feeling of a child that he is acting
before people, or that people are interested in him
rather than in the character that he portrays.
Much harm can be done by allowing a child to feel
that he is "showing off'' on a stage.
This mode of procedure in developing a drama-
tization illustrates the general method which is
employed in order to secure the results herein
discussed. It should be helpful as a method which
may be varied or built upon according to the cir-
cumstances. Detailed descriptions of exact modes
of procedure in presenting different kinds of Bible
stories to the dramatic club will follow. Costumes
and stage settings have always been of the simplest
nature and will be discussed at length in a separate
chapter.
In order that this method may be of greatest
practical value to those who are unfamiliar with it,
a summary may give the steps in logical sequence.
This outline is not to be taken as unchangeable, but
merely as a working basis for the beginner.
1. Select a story with care; then adapt it for
telling.
2. Tell the story, emphasizing the essential parts.
3. Let the children divide the story into pictures
or scenes.
4. Have a discussion of what should take place
in each scene.
i6 The Dramatization of Bible Stories
5. Let volunteers from among the children act
out one scene as they think it should be done, using
their own words.
6. Develop criticism by the other children with
suggestions for improvement.
7. Have a second acting of the scene for im-
provement.
8. Let each of the other scenes be worked out
in the same manner.
9. See that every child has the chance to try
out many parts.
10. Play the story through many times.
Change it often according to the criticism, until
the children recognize the result as a product of
their best effort.
11. With the help of the children change the
words into biblical form.
12. Let the group assign definite parts to be
learned for the final performance.
CHAPTER III
THE DRAMATIZATION OF JOSEPH
As will be noted in the following chapter, it is
well in beginning dramatic work with children to
use for the first efforts very simple stories. Joseph
is too long and complicated for an early experiment.
We may begin our exposition of method with this
story, however, as it illustrates especially well the
details of the developing process.
At the first meeting the story was told in terms
that followed closely the Bible version. The chil-
dren were asked to select the big events, or pictures,
in Joseph's life. They readily spoke of his life
in Canaan as a boy; his being put into the pit
and sold to the merchants ; his life in Egypt with
Potiphar ; the prison experience and the interpreta-
tion of Pharaoh's dream; the change of fortune in
becoming ruler of the land; the famine and the
visits of his brothers; and, finally, his kindness to
his father and brothers in giving them a home in
Egypt.
The story was told to the children very much as
follows:
Jacob was an old man, too old to care for his large flocks.
He sat in the door of his tent day after day, and sent his
twelve sons off with the sheep and goats to find grassy fields.
17
i8 The Dramatization of Bible Stories
Now of all the twelve sons Jacob loved Joseph, a lad of
seventeen years, the best. Joseph was next to the yoxingest
and often stayed with his father while the older brothers went
away. Jacob gave Joseph a coat of many colors and showed
him often that he was the favorite. This made the older
brothers very jealous of Joseph, and they began to dislike him.
Once Joseph dreamed a dream, which he told to his
brothers, and it made them hate him all the more. He said
to them, "Hear, I pray you, this dream which I have
dreamed: Behold, we were binding sheaves in the field, and,
lo, my sheaf arose, and stood upright; and, behold, your
sheaves stood roimd about and bowed down to my sheaf."
Then his brothers said to him, " Shalt thou indeed reign over
us ? or shalt thou have power over us ? '*
Then Joseph dreamed yet another dream, and he told
it again to his father and brothers, and said, "Behold, the
Sim and moon and the eleven stars bowed down to me."
And his father said imto him, "What is this dream that thou
hast dreamed ? Shall I and thy mother and thy brethren
indeed come to bow down ourselves to thee?" And the
brothers remembered what their father had said, and they
wished that harm might come to Joseph.
It happened soon after this that Jacob sent his ten older
sons with the flocks to Shechem, a place some distance away
where there was good grass. Now the brothers were gone
for so long a time that their father became anxious and
decided to send Joseph after them. He said to Joseph, " Do
not thy brethren feed the flock in Shechem ? Go, I pray
thee, see whether it be well with thy brethren and well with
the flocks; and bring me word again." So Joseph took
money and food in his bag, and his staff in his hand, and
went out to find his brothers.
At Shechem there were no brothers to be seen. Joseph
was wondering what he should do next, when he saw a man
Dramatization of "Joseph" 19
coming toward him over the field. "What seekest thou ?*'
said the man. And Joseph answered, " I seek my brethren;
tell me, I pray thee, where they feed their flocks." "They
have departed from here," said the man, "and have gone
to Dothan." Then Joseph went after his brothers and
found them at Dothan.
Now when the brothers saw Joseph afar off, they knew
that it was he from his coat of many colors, and they
plotted against him. One of them said, "Behold, this
dreamer cometh. Come, now, let us slay him, and cast
him into some pit, and we will say unto our father that some
evil beast hath devoured him; and we shall see what will
become of his dreams." Reuben, one of the brothers, felt
more kindly toward Joseph than did the others and said
to them, "Let us not kill him, but let us cast him into this
pit that is near." Reuben thought that he would come
back later after the brothers had gone and help Joseph out
of the pit and take him to his father.
When Joseph came to his brothers, they quickly took the
coat of many colors from him and boimd him and cast him
into an old well which was dry. Then they sat down to eat
bread. They had hardly become settled when one of them
cried out, "Behold, I see a caravan! It is a company of
Ishmaelites, with their camels bearing spicery and balm
and myrrh, going down to Egypt." Then Judah said,
"Why do we slay our brother and conceal his blood?
Come, let us sell him to these Ishmaelites, and let not our
hand be upon him, for he is our brother and our flesh."
The brothers were content to do as Judah had said. They
drew Joseph up out of the well, and when the Ishmaelites
came near they sold him to them for twenty pieces of silver.
And the brothers went away to kill a goat so that they
might dip Joseph's coat into the blood, that their father
might think that he had been killed by some wild animal.
20 The Dramatization of Bibxe • Stories
Reuben did not know that. Joseph had been sold, and
returned unto the pit after the brothers had left. When he
saw that Joseph was not there, he rent his clothes, and ran
after the others, crying, "The child is not, and I, whither
shaUIgo?"
And when the brothers brought Joseph's coat to their
father, they said, **This we have found; thou knowest if
it be thy son's coat." And Jacob knew it, and said, "It
is my son's coat; an evil beast hath devoured him."
Then Jacob put on sackcloth and ashes and mourned for
Joseph many days.
Now the Ishmaelites brought Joseph down into Egypt
and sold him to Potiphar, a captain of King Pharaoh's
guard. And Joseph was faithful and served the Lord, and
Potiphar saw that he could be trusted with great responsi-
bility and made him ruler over his household. But Poti-
phar's wife grew jealous of Joseph and disliked him, and
told Potiphar things which were untrue about Joseph,
After awhile Potiphar began to believe his wife and he
decided that Joseph was not a good man, so he had Joseph
cast into prison.
And it came to pass that the butler and the baker of the
king of Eg3^t were put into prison at the same time that
Joseph was there, and they were placed in his ward. One
morning Joseph foimd them both very sad and he said imto
them, "Wherefore look ye so sadly today?" And they
said, "We have dreamed a dream and there is no one to
interpret it." Then Joseph said, "Do not interpretations
belong to God ? Tell me your dreams, I pray you." And
they told him their dreams, and he gave them the meaning
thereof. To the chief butler he said, "Yet within three
days shall Pharaoh lift up thine head and restore thee to
thy place." But to the chief baker he said, "Yet within
three days shall Pharaoh lift up thy head from off thee, and
Dramatization of "Joseph" 21
shall hang thee on a tree." And it came to pass that on the
third day Pharaoh gave a feast to his servants, and he
restored the chief butler to his place, but he hanged the
chief baker, as Joseph had interpreted.
At the end of two years Pharaoh dreamed a dream. He
was greatly troubled, and sent for all the wise men of the
land to tell him the meaning of his dream, but there was
none that could interpret it xmto Pharaoh. Then the
chief butler spoke to the king and said, "I do remember
this day, that when Pharaoh was wroth with his servants
and put both me and the chief baker into the prison, that
we each dreamed dreams in one night; and there was a
young man there, a Hebrew, who interpreted to us our
dreams, and they came to pass as he interpreted, for the
chief baker was hanged and I was restored to my office."
Then Pharaoh sent for Joseph, and they brought him
in hastily out of the dungeon. And Pharaoh said, "I have
dreamed a dream, and there is none that can interpret it,
and I have heard say of thee that thou canst imderstand a
dream to interpret it." And Joseph answered Pharaoh,
"It is not in me; God shall give Pharaoh an 'answer of
peace." Then Pharaoh said, "In my dream, behold, I
stood upon the bank of a river; and there came up out of
the river seven fat cows, and they fed in a meadow. And,
behold, seven other cows came up after them, lean and ill
favored; and the lean and iil-favored cows did eat up the
fat and well-favored cows. Then I dreamed again, and,
behold, seven full ears of com came upon one stalk, and
then seven ears, withered and thin, came up after them,
and devoured the good ears."
And Joseph said to Pharaoh, " God hath shewed Pharaoh
what he is about to do. This is the thing which he is about
to do: Behold, there will come seven years of plenty
throughout the land of Egypt; and there shall rise up after
22 The Dramatization of Bible Stories
them seven years of famine, and the famine shall consume
the land. Now, therefore, let Pharaoh look out a man,
discreet and wise, and set him over the land of ^gypt, and
let him gather up all the food during the years of plenty
and lay it up in the cities, so that the land shall not perish
in the famine." And the thing was good in the eyes of
Pharaoh, and he said, ''Can we find such a one as this is,
a man in whom the spirit of God is ? Forasmuch as God
has shewed thee all this, there is none so discreet and wise
as thou art; thou shalt be over my house, and according
to thy word shall all my people be ruled." Pharaoh took
off his ring from his hand and clothed him in fine linen and
put a golden chain around his neck.
Joseph went out from the presence of Pharaoh and went
over all the land of Egypt. He gathered up the food for
seven years, and laid up the food in the cities. And the
seven years of plenteousness that were in all the land of
Egypt were ended, and the seven years of famine began,
and there was famine in all the lands. Then Joseph opened
the storehouses and sold to the Egyptians, and other
countries -sent to buy grain from Joseph because they had
stored none.
Now in Canaan Jacob and his eleven sons were suffering
from the famine. They heard that there was food in Egypt,
so Jacob sent down all the brothers, except Benjamin, to
buy food. When they came before Joseph and bowed
themselves to the earth, they knew him not. But Joseph
saw his brothers, and he made himself strange unto them,
and treated them roughly, that they should not know him.
And when they bowed before him Joseph remembered the
dreams that he had dreamed of them, "Ye are spies,'*
he said, "ye are come to see the bareness of the land."
They answered him, "We are true men, we are no spie&
Thy servants are twelve brothers, the sons of one man
Dramatization of "Joseph" 23
in Canaan; and, behold, the youngest is this day with our
father, and one is not." "Hereby ye shall be proved,"
said Joseph, "if ye be true men; let one of your brethren
be bound in the prison while ye go and carry grain to your
father's house, but bring back your youngest brother to me."
The brothers took the food back to Canaan, to their
father's tent, and told him what the ruler in Egypt had said.
Jacob mourned and was loath to let Benjamin, his youngest
son, go back to ^gypt with them. "My son shall not go
down with you," he said; "for his brother is dead and he is
left alone: if mischief befall him, then shall ye bring down
my gray hairs with sorrow to the grave." But the famine
was great in the land, and they had eaten up all the grain
which they brought from Egypt. The brothers would not
go down again until Jacob had consented to let them take
Benjamin with them. And Judah said imto his father,
" Send the lad with me and we will rise and go, that we may
live and not die. I will be surety for him; if I bring him
not back imto thee, then let me bear the blame forever."
Then Jacob answered, "If it must be so, do this: take the
best of the fruits in the land, and carry down the man a
present, a little balm, and a little honey, spices, and myrrh,
nuts, and almonds and take double money, and take also
• your brother, and arise and go imto the man; and God
Almighty give you mercy before the man, that he may send
you away with your other brother and Benjamin."
And the men took the present and double the money
and Benjamin, and went down into Egypt, and stood before
Joseph. When Joseph saw Benjamin, he ordered that the
men be brought to his home, and that a feast be made ready,
and that the other brother be brought out of the prison.
But the men were afraid because they were brought into
Joseph's home, and they bowed themselves to the earth
before him and presented their gifts. Then Joseph was
24 The Dramatization of Bible Stories
greatly moved and said unto them, ''Is your father well,
the old man of whom ye spake ? Is he yet alive ? " And
they answered, "Thy servant, our father, is in good health;
he is yet alive." And they bowed down their heads. Then
Joseph lifted up his eyes and saw Benjamin, his mother's
yoimgest son, and said, ''Is this your yoimger brother of
whom ye spake imto me?" And he said to Benjamin,
" God be gracious imto thee, my son." Joseph was so over-
come by his love for Benjamin that he hastened out of the
room where he could weep alone. And he washed his face
and composed himself and commanded that the food be
served. They all ate and were merry, and Joseph helped
Benjamin to five times as much as he did the others.
Then Joseph commanded the steward to fill the men's
sacks with food, and to put each man's money back into his
sack, and to put his silver cup into the sack of the youngest.
As soon as the morning was light the men were sent away.
And when they were gone out of the city and were not yet
far off, Joseph sent a servant after them to search their sacks
for his silver drinking-cup, and he sent word that the one
who had it should be brought back to him.
Now the brothers were greatly distressed and protested
that they knew nothing of the cup. What was their
astonishment at finding their money in their sacks and the
cup in Benjamin's sack! Then they rent their clothes and
returned to the city. And Judah came to Joseph and fell
on the ground and said, "What shall we say unto my lord ?
or how shall we clear ourselves ? God hath f oimd out our
sin, behold we are my lord's servants." Then Joseph said,
"Get up and go in peace unto thy father; I shall keep for
my servant only the man in whose sack the cup was foimd."
And Judah came near to Joseph and besought him that he
allow Benjamin to return to their father; he told him that
he had promised his father to bring the lad back safely,
and that it would kill the old man if they returned without
Dramatization of "Joseph" 25
Benjamin. "Now therefore, I pray thee, let thy servant
abide as a bondman, instead of the lad." Then Joseph
could not refrain himself, and he wept before his brothers
and made himself known to thiem. "I am Joseph, do ye
not know me ? Is my father yet alive ? " And the brothers
were troubled, and they did' not know how to answer him.
"Come near, I pray you,'* -And they came near, and he
said again, "I am Joseph, your brother, whpm ye sold into
Egypt. Now be not grieved nor angry with yourselves
that ye sold me hither, for God did send me before you to
preserve your lives. Haste ye, go up to my father, and
tell him that Joseph, his son, still liveth, and bring him
down unto me. " And Joseph fell upon Benjamin's neck and
kissed him, and he kissed all his brothers, and they were
astonished, for they knew now that this was Joseph whom
they had sold.
Now the word was spread over Pharaoh's house that
Joseph's brethren had come, and it pleased Pharaoh greatly.
He came in where they were and said unto Joseph, "This
do ye: Say to youi: brethren that they are commanded
to go ))ack into Canaan, and to pack all their household
goods, and to bring their father and their families, and all
their flocks, and to return into the land of Egypt, for all
the good of the land shall be theirs."
Then the brothers were joyful, and gave thanks unto
Pharaoh and to their brother, Joseph, and they left the
city to go back to their father. And when they came imto
Jacob and told him all, and showed him the wagons which
Joseph had sent to bring him down into Egypt, his soul
rejoiced, and he said, "It is enough; Joseph, my son, is
still alive: I will go and see him before I die."
The children decided that it would take a great
many scenes in order to act out the story ade-
quately. At first they mentioned seven or eight.
26 The Dramatization of Bible Stories
One child was asked to describe the first scene as
he thought it ought to be, and several others added
to the description. Volunteers were then called
upon to act it out then and there.
The first scene was placed in front of Jacob's
tent. Jacob is anxiously awaiting the return of his
ten sons with the flocks. He becomes worried
because they do not come, so he sends Joseph to
seek his brothers. Joseph accepts the command
and leaves the tent.
This scene was acted very naturally and spon-
taneously by several groups of children. Each
time it was changed, for no two groups of children
interpreted the action or words alike.
The children who were not acting were made to
feel their responsibility also, for they were asked to
make note of the best parts. A general discussion
was held at the end of each presentation, in which
the good points were emphasized and suggestions
were given as to improvement. The criticism in
all of this work comes for the most part from the
children; the leader in charge directs it, but keeps
from imposing her opinions.
As the meetings of this dramatic club last but
one hour, nothing more could be done than work
out one scene at this first time. The children were
asked to think the story over and to come the next
Sunday prepared to suggest the second and third
scenes in detail.
Dramatization of "Joseph" 27
At the next meeting tne second and third scenes
were worked out in the same manner as the first.
The second scene places Joseph at Shechem.
Here he meets the man who tells him that his
brothers have gone to Dothan.
In the third scene the brothers are seated on the
ground eating and resting, with their shepherd
staffs beside them ; they begin to talk about Joseph
and to tell of his dream and their hatred of him.
Just at this point Joseph runs in and gives his
father's message. He also tells of his experience
in Shechem in not finding them there. Then the
brothers take him and bind him and throw him
into the pit. The caravan comes along and
Joseph is sold and taken away. After the brothers
depart, Reuben, not knowing that Joseph has been
sold, comes back to the pit, hoping to help him out.
When he finds the boy gone, he weeps and goes
sorrowfully away. (A doorway which leads off
from the stage at the back was used for the pit.
There were no camels in the caravan; the men
walked by.)
During the next hour scenes which describe
Joseph's life in Egypt were roughly blocked out.
The children made up their words as they acted
the parts. The language at this stage was very
modern, but for the time being the emphasis was
placed upon the thought expressed and upon the
action.
28 The Dramatization of Bible Stories
Several of the older girls volunteered to write out
the first few scenes in order to bring the language
into better form. At the fourth meeting these
were brought in and discussed by the children.
The following is a version of the first scene just
as it was written by a girl of twelve years. It is
given here that the contrast may be seen between
this as a piece of work which may be made better
and the final play at the end of the chapter.
SCENE I
Jacob: It is time my sons are returning with their
flocks. See if thou canst see them coming.
[Exit servant.]
First Lady: Yes, they have been gone a long time. We
have only Joseph and Benjamin with us.
[Enter servant,]
Jacob: What didst thou see ?
Servant: Master, I saw nothing of your sons.
Jacob: I shall siend Joseph after them. Bring Joseph
hither. [Turns to another servant,] Bring a bag of food
for him to take with him on his journey.
[Servants leave, Jacob looks away^ hoping to, see his, sons,]
Jacob: I do not see them. What can be the matter ?
[Enter Joseph with servant.]
Second Lady: Joseph will be sure to find them.
Jacob: Joseph, my son, I am sending thee after thy
brethren. Take this food to Shechem and bring thy
brethren back to me.
Joseph: I will do as thou bidst.
[Jacob stands and puts his hand on Joseph,]
Jacob: May the Lord go with thee.
End
Dramatization of "Joseph" 29
The third scene was written by a girl of eleven
years and was as follows:
SCENE in
[All brothers look down the road,]
All Brothers: What shall we do with him ?
Seventh Brother: I know; let's kill him!
All except Reuben: Yea! Yea!
Reuben: Nay, do not kill him ; let's put him in a deep pit.
Tenth Brother: Well, all right.
[Joseph appears; exit Reuben.]
Joseph: Ah, I have foimd ye at last, my brethren.
[All grab Joseph.]
Joseph: What have I done to deserve this ?
Fourth Brother: Get some rope!
[Eodt sixth brother and brings some rope back with him.
Eighth and ninth brothers bind Joseph with ropes. All
take hold of him and push him into the pit.]
Tenth Brother: But what shall we tell our father ?
Eighth Brother: Let's tell him that Joseph was killed
by a wild beast.
Ninth Brother: We will take his coat of many colors,
which our father gave him, and dip it in the blood of a goat.
All: Yea! Yea!
[Seventh brother sees some merchants.]
Seventh Brother: I see merchants in the distance. Let's
sell Joseph to them.
[One brother goes after the merchants, while the others bring
'Joseph, from the pit. Merchants enter,]
Tenth Brother: What will ye give us for this lad ?
Merchant: I guess we can give ye about twenty pieces
of silver.
30 The Dramatization of Bible Stories
[Merchants take Joseph with them. Brothers go on their
way. Enter Reuben after his brothers have gone.
He runs to the pit.]
Reuben: Joseph! Joseph! Where art thou ? The lad
is gone. Whither shall I go ?
[Reuben goes away^ sobbing and wringing his hands.]
End
At the meeting when these were read the chil-
dren began to criticize the length of the play. One
little boy made the remark, "We keep telling the
same things over; why can't we leave out that
second scene? It is so short, and Joseph could
tell his brothers in the third scene that he didn't
find them at Shechem." This suggestion was
readily accepted, and as a consequence the second
scene was omitted. Then the entire group con-
sciously worked on the play to see what parts were
unnecessary. Several children had recently been
to the theater and had seen some good plays.
They told the others that there were few scenes
and that there was much left to the imagination
of the audience. The result was that this long-
drawn-out play was cut down to three essential
scenes. The first scene was placed at Dothan, and
was much the same as the original scene iii. The
second scene was placed at Pharaoh's palace where
Joseph was brought to interpret the king's dream.
The third represented the brothers coming to
Joseph with Benjamin, the youngest, ending with
Dramatization of "Joseph" 31
Joseph's forgiveness of them and his sending for
Jacob, their father.
After these three scenes were decided upon, the
older children were asked to begin writing them out
in final form.
At the fifth meeting of the club all the children
sat in a circle with Bibles and pencils and paper
and, together with the leader, they formulated the
speeches, making them conform as nearly as pos-
sible to those in the Bible. The work that had been
done outside was discussed and built upon. This
part of the procedure did not take as long a time
as it may seem, because the children knew so well
what thoughts they wanted to express — they had
lived the story so many times. They practiced
after this, using the words they had decided upon.
For the next meeting or two the children acted
out the play, trying each time to improve it by
better interpretations of the parts. The fact that
they had learned definite words did not in the least
check the freedom of the action or cause the play
to lose the spontaneity which first characterized
it, for the reason that the story had quite become
a part of the children before they decided upon the
set speeches.
The question arose as to which children should
take certain parts. In some instances several
wanted to learn the part of one particular char-
acter. They were each given the opportunity of
32 The Dramatization of Bible Stories
learning it, and thien at the next meeting each
acted it as best he or she could before the group.
The other children were judges and decided upon
the one who seemed to represent the character
best. Whenever this method' of choosing char-
acters has been employed there has never been any
hard feeling on the part of a child because he was
not chosen. The justice of the choice is quickly
recognized when it comes in this way rather than
from the leader.
There were many little children in this club who
were scarcely old enough to learn a part or to say
very much. They were easily worked into the
caravan, or they took such parts as servants in
Pharaoh's court. Each child was made to feel that
one part was just as important as another and that
those who had nothing to say were very essential
elements because of their acting.
Eight or nine meetings were needed before the
play was entirely finished. The children had very
simple slips for costumes which they had been wear-
ing at each rehearsal. Bright-colored sashes and
headdresses they brought from home. Pharaoh
was more gaily dressed than the others. The child
who took the part made for himself many orna-
ments from gilt paper.
Very little attention was given to stage setting;
what was used was extremely simple. A few of
the older girls made designs from the Egyptian
Dramatization of "Joseph'' 33
lotus to stand around the walls of Pharaoh's
palace or to be carried by the servants. Colored
illustrations of Bible stories by Tissot were sug-
gestive helps in these details. The ten brothers
made themselves shepherd staffs from limbs of
trees. This small amount of stage setting and
costuming was used at many rehearsals and was all
that was necessary to produce the right atmosphere.
As soon as the children felt that the play repre-
sented their best effort they invited their parents
and friend? and presented it before them one
Sunday afternoon at the time for the regular
meeting.
It happened that a few days before the final
presentation four of .the principal characters were
taken ill with measles and chicken-pox. Four
others, who had not given special attention to these
parts, but who had minor parts, assumed the
important r61es and went straight through the
play with no trouble whatever. The audience
never knew the difference and the children thought
that it was entirely natural that they should be
able to do this. The play all the way thi'ough was
characterized by a spirit of dignity and seriousness.
As direct results of this work in dramatization
it was noted that all the children had acquired a
certain freedom of expression, a self-confidence,
without conceit or too much sureness, and the
ability to work harmoniously with the group.
34 The Dramatization of Bible Stories
One or two timid children learned to forget them-
selves, and one overconfident child was helped
by seeing that others could learn to do the part
even a little better than herself.
The children who took part in this little play of
Joseph will never forget it. Several years after
the play was given they were frequently referring
to it with great happiness. Joseph is one of their
favorite characters because they have lived through
his'experiences with him.
The following is the play as it was given in its
final form. It is not to be taken as a play which
may be given to children to be learned as it is; it
is given here that there may be some idea of the
standard which may be reached.
JOSEPH
SCENE I
Place: Dothan.
Characters: Reuben, Simeon, Levi, Judah, Issachar,
Zebulim, Dan, Naphtali, Gad, Asher, Joseph, Several
Ishmaelitish Merchants.
[The ten ht others are sitting and lounging on the ground,
eating bread.]
Reuben: Shall we stay longer in this place? Our
flocks have fed well in Shechem and Dothan. Let us
return again unto Canaan and to the tent of our father,
Jacob.
Judah: Oh, why should we go back ? Our father loveth
us not ! It is Joseph, our younger brother, that he favoreth!
Dramatization of ''Joseph" 35
Levi: Yes, this Joseph! This dreamer of dreams! He
thinketh he is greater than we. He thinketh he shall rule
over us!
Judah: Ye heard him when he said, "Hear this dream
which I have dreamed: Behold, we were binding sheaves
in the field, and, lo, my sheaf arose, and stood upright;
and, behold, your sheaves stood roimd about, and bowed
down to my sheaf.'*
Simeon: Ha! Shall he indeed reign over us? Or
shall he have dominion over us ?
Levi: Yea, and he dreamed yet another dream, for he
said, "Behold, the sim and the moon and the eleven stars
bowed down unto me."
Dan: What is this' dream which he has dreamed?
Shall his mother and father and eleven brethren indeed
come to bow down themselves to him ?
Simeon: Joseph and his dreams are hateful unto me!
I was glad when our father said to us, "Take the flocks to
feed m Shechem," for now we are free of him.
Levi: It seemeth to me that I see this Joseph, this
dreamer whom we hate. He is yet afar off, but he surely
approacheth us!
Reuben: Can it be he ?
Dan: Yes, for I see the coat of many colors, the coat
our father made for his favorite son.
Levi: Why should he come to us ? Cannot our father
trust the flocks to our hands without sending this Joseph
to spy on us ?
Dan: It is he! It is Joseph!
Simeon: What shall we do ?
Judah: Our time is come. We despise him; let us
slay him.
Reuben: Nay, thou dost not mean to slay him!
Several: Nay! Nay!
36 The Dramatization of Bible Stories
Judah: We must surely slay him. We must rid our-
selves of this dreamer. Think how he said he should reign
over us! Let us be rid of him!
Simeon: Yes, thou art right — ^we must slay him.
Several: Yea, yea, slay him! Destroy him! He shall
dream no more such dreams!
Simeon: Behold, this dreamer cometh near! Come,
now, and let us slay him, and cast him into some pit, and
we will say, "Some evil beast hath devoured him,'* and we
shall see what will become of his dreams.
Reuben: Let us not kill him. Shed no blood, but cast
him into this pit that is in the wilderness, and lay no hand
upon him.
[Reuben goes away.]
[Joseph runs up. Gad lays one hand roughly on his shoulder, "[
Gad: How comes it that thou art here ? What is thy
business ?
Joseph: My father commanded me and said, "Go, I
pray thee, and see whether it be well with thy brethren and
well with the flocks; and bring me word again. '* So he
sent me out of the vale of Hebron, and I came to Shechem.
And you were not there, and I came on after you and found
you here. What troubleth you? Hath ought happened
to the flocks ?
Simeon: Hear his tale! This dreamer of dreams! So
he would reign over us, woiild he! Strip him of his coat
of many colors! This favored son!
[Brothers hind Joseph and cast him into the pit.\
Joseph: What have I done to deserve this ?
[Brothers sit down again to eat iheir bread,]
Gad: Behold, I see a caravan!
Simeon: From what country ?
Gad: It is a company of Ishmaelites, from Gilead, with
their camels, bearing spicery and balm and m3nTh, going
down into Egypt.
Dramatization of "Joseph" 37
Judah: What doth it profit if we sky our brother and
conceal his blood? Come, let us sell him to these Ish*
maelites and let not owe hand be upon him, for he is our
brother and our flesh.
Several: So be it.
Gad: Hail the caravan, and bargain with these men.
Simeon [saltUes the head man of the caravan; the brothers
listen attentively; Gad brings Joseph out of the pit]: What
wilt thou give us in exchange for this lad ? We would sell
him.
Merchant [looks Joseph over, then consults with his men]:
Twenty pieces of silver will we give for him.
Simeon [to the broilers]: These merchants will give us
twenty pieces of silver for this dreamer.
All: SeUhun! SellhimI
[Joseph is taken over by the merchants and they all move on.
The brothers are dividing out the money.]
Gad: The lad is gone with the merchants, but what
excuse shall we make unto our father ?
Simeon: Say imto him that a wild beast hath devoured
him. Here is his coat of many colors — we will kill a goat
and dip the coat in the blood! Then our father, Jacob,
will grieve for his son!
All: As thou sayest, so let us do!
[Brothers move off stage, discussing the money, Reuben
comes back. He runs and looks in the pit. He tears his
clothes when he finds that Joseph is not there.]
Reuben: The child is not, and I, whither shall I go ?
SCENE n
Place: Egypt. In Pharaoh's palace.
Characters: Pharaoh, Joseph, Wise Men, Chief
Butler, Servants.
[Pharaoh is sitting on his throne; many wise men come in
and bow down before him.]
38 The Dramatization of Bible Stories
Pharaoh: Arise, O wise men of Egypt! I have sent
for you this day because of a dream which troubleth me.
[Men stand up.]
Wise Men: What is thy dream, O King ?
King: I dreamed, and, behold, I stood by a river, and
there came up out of the river seven fat cows, and they
fed in a meadow. And, behold, seven other cows came up
after them out of the river, ill favored and lean. And the
ill-favored and lean cows did eat up the seven well-favored
and fat cows. Then did I awake, but the second time I
slept and dreamed. And, behold, seven good ears of com
came up upon one stalk, and, behold, seven thin ears
sprung up after them, and the seven thin ears devoured
the seven full ears. And I awoke again, and, behold, it
was a dream. Now, is there one among you who can tell
me the meaning of these dreams, for my spirit is troubled
because of them ?
[The wise men in turn come out and bow before the king
and say]i
First Wise Man: O my lord Eong, thy dream troubleth
me, but I am not able to interpret it.
Second Wise Man: O King, also, I cannot tell thee the
meaning of thy dream.
Third Wise Man: Most gracious King, I, also, am
unable to interpret thy dream.
Fourth Wise Man: O great Pharaoh, I regret that I
am unable to help thee.
Pharaoh [angrily] : Are ye called the wise men of Egypt,
and yet are ye not able to interpret a dream ?
[The chief butler comes forward and falls before the king.]
Butler: O great King, I am only thy chief butler, but
I beg of thee allow me to speak.
King: Speak, butler, what wouldst thou say ?
Dramatization of "Joseph" 39
Butler: O King, I do remember my faults this day.
When Pharaoh was wroth with his servants and put me
in prison, both me and the chief baker, behold, we dreamed
a dream in one night, and there was a young man, a Hebrew,
and we told him, and he interpreted to us our dream. And
it came to pass as he interpreted unto us, for I was restored
unto mine oflfice and the baker was hanged.
Pharaoh: Send for this young Hebrew; bring him into
my presence. [Servant goes out for Joseph.] Butler, who
is this boy that interpreted thy dream ?
Butler: His name is Joseph, O King. He was brought
down from Canaan by a caravan and was sold to Potiphar,
the captain of Pharaoh's guard. But he displeased Potiphar,
so he was thrown into prison at the time thy servants were
there.
[Enter Joseph. He falls on his face before Pharaoh.]
Pharaoh: I have dreamed a dream, and there is none
that can interpret it, and I have heard say of thee that thou
canst understand a dream to interpret it.
[Joseph rises.]
Joseph: It is not in me; God shall give Pharaoh an
answer of peace.
Pharaoh: [Repeats his dream to Joseph.]
[Joseph comes nearer to Pharaoh.]
Joseph: What God is about to do he sheweth unto
Pharaoh: Behold, there will come seven years of great
plenty throughout all the land of Eg3^t. And there shall
arise after them seven years of famine. And all the plenty
shall be forgotten throughout Egypt, and the famine shall
consume the land, and it shall be very grievous. Now
therefore let Pharaoh look out a man discreet and wise and
set him over the land of Egypt j and let him appoint oflScers
over the land. And let them gather all the food of those
40 The Dramatization of Bible Stories
good years that come, and lay up com under the hand of
Pharaoh. And let them keep food in the cities. And
that food shall be stored against the seven years of famine,
that the land may not perish through famine.
Pharaoh: This plan seemeth good unto me. Can we
find such a one as this is, a man in whom the spirit of God is ?
The Wise Men: Nay, O King, he is most wise.
Pharaoh: Forasmuch as (jod hath shewed thee all this,
thou shalt be over my house, and according to thy word
shall all my people be ruled, only in the throne will I be
greater than thou. See, I have set thee over all the land of
^gypt* [To his servants'^ Bring a golden chain, and fine
raiment for this man.
[He puts a ring on Joseph's hand. When the clothes are
brought they are put around him, the
chain on his neck, etc.]
Pharaoh: Thou shalt ride in the second chariot and all
my people shall bow the knee imto thee. [All people in the
room how.] I am Pharaoh, and without thee shall no man
lift up his hand or foot in all the land of Egypt.
Joseph: May the Lord God give me power to do his will.
SCENE ni
Place: Pharaoh's palace.
Characters: Joseph, His Eleven Brothers, Servants,
Pharaoh.
[Joseph is seated an his high seat, A servant comes in.]
Servant: Master, the men that came down from Canaan
to buy food of thee have returned and would have a word
with thee.
Joseph: Bring them in. [To another servant]: Go
see that a feast is prepared for these men.
[The brothers enter bringing Benjamin. They all fall an
their faces.]
Dramatization op "Joseph" 41
Joseph: Arise! And have you returned bringing with
you your youngest brother ?
Reuben: O sir, we have brought our youngest brother;
he is here.
[Benjamin is led forward, Joseph goes near and puts his
hand, on Benjamin.]
Joseph: And is this your younger brother of whom ye
spake imto me? God be gracious imto thee, my son!
[To the brothers:] Is your father well, the old man of whom
ye spake ? Is he yet aHve ?
Ijevi: Thy servant, our father [all haw heads], is in good
health; he is yet alive.
[Joseph turns away and begins to weep; he leaves them
abruptly and walks to the other
side of the room,]
Joseph [to the servants]: Cause every man to go out
from me! [All begin to leave the room, brothers included.]
[To the brothers. He walks quickly after them and holds
his arms otU toward them.] Stay! I am Joseph; doth my
father yet live? Come near to me, I pray you. [They
come somewhat nearer and fall to the ground,] I am Joseph,
your brother, whom ye sold into Egypt. Now, therefore,
be not grieved nor angry with yourselves, that ye sold me
thither, for God did send me before you to preserve life.
For these two years hath the famine been in the land; and
yet there are five years more. God hath sent me before
you to save your Kves. Haste ye, and go up to my father,
and say imto him, "Thus saith thy son Joseph, God hath
made me lord of all Egypt. Come down imto me, and tarry
not. And thou shalt be near unto me, thou and thy chil-
dren, and thy flocks, and thy herds and all thou hast." Oh,
«^o you not see that I am Joseph that speak unto you?
[He weeps again and turns away,]
42 The Dkauatization op Bible Stobies
Dramatization of "Joseph" 43
Brothers: Joseph, our brother Joseph! Can he forr
give us ?
[Pharaoh enters here.]
Joseph: O Xing, these are my brethren, and from my
father's tent.
Pharaoh: Say imto thy brethren: "This do ye: Go
back imto the land of Canaan and take your father and
your household goods, and come unto me. And I will
give you the good of the land of Egypt, and ye shall eat
of the fat of the land. Now ye are commanded: This do
ye: Take ye wagons out of Egypt for your little ones, and
for your wives, and bring your father, and come, for the
good of the land shall be yours."
One Brother: We thank thee, O great Pharaoh, and our
brother Joseph. This is greater than we deserve. We will
bring our father down straightway.
Joseph: Praise be to God who has done this good thing!
End
CHAPTER IV
THE DRAMATIZATION OF DAVID AND GOUATH
When beginning dramatic work with a group of
children who have never had the training before,
it is always well to select as the first story to be
dramatized one that is short, simple in structure,
and full of action. If children undertake a long
story which involves complicated situations, they
easily become discouraged and lose the joy and
spontaneity which are essential elements in suc-
cessful dramatizations. Fables, such as "The Boy
and the Wolf'' or "The Fox and the Grapes,"
are excellent to begin with, because they contain
the necessary qualities which make up a good short
story. Situations as simple as those which are
presented in these fables are entered into with
great freedom, and they seem to pave the way for
more ambitious dramatizations.
The story of David and Goliath is short, simple,
and yet contains vivid action. It was chosen as
one of the first stories to be given to the dramatic
club because of these qualities. After the children
had gone through the experience of dramatizing
it they had gained a self-confidence and a realiza-
tion of their own power in interpreting a story
through dramatization.
44
Dramatization of ''David and Goliath'' 45
The methods employed in presenting David and
Goliath were much the same as those described in
connection with Joseph. The point that must be
kept in mind in all of this work is that the drama-
tization of a story begins with the action and that
the words are developed. The play is never
written first and acted afterward.
While telling the story the leader placed much
emphasis upon the activities and ideals of the
shepherd Uf e of the Hebrews in the time of David.
The children made their own armor— hehnets,
swords, shields — from cardboard and colored pa-
pers. Pictures and descriptions which they secured
helped them to get correct ideas as to shapes and
decorations.
The costumes were simple little slips that could
be belted in at the waist, and came only to the
knees. The children helped to plan and make
them. David made his shepherd staff from a Kmb
of a tree, and the soldiers made their spears by
fastening gilded points to long sticks.
A question arose as to how the sling was
made. The children found, upon looking up
this point, that the sling was woven from differ-
ent colored wools. From a good picture they
constructed looms from cardboard and actually
wove several slings like David's. Fig. 14 shows
a diagram of the loom as the children worked
it out.
46 The Dramatization of Bible Stories
A very great value was derived from this con-
struction work, in that it came entirely from the
children; it was an outgrowth of their genuine
interest in the subject. They were reliving the
same experiences and solving the same problems
that had confronted David.
The gentle spirit of David had a direct influence
upon the whole group. It made no difference what
part a child interpreted — ^whether that of Goliath
or of one of the brothers — ^it was evident that
David's high ideals and sweetness of character
called forth admiration.
Fig. 2 gives one of the scenes from David and
Goliath. The play follows as it was given.
DAVID AND GOLIATH
Characters: David, David's Three Brothers, King
Saul, Goliath, Israelite Soldiers, Philistine Soldiers.
scene I. THE CHALLENGE
Place: On the battlefield.
First Brother: Have ye seen this Philistine who is come
up, this giant who has defied the armies of the living God ?
Second Brother: Who has seen him ?
Third Brother: I have seen him; he is verily a giant.
His height is six cubits and a span. He weareth an helmet
of brass upon his head, and he is armed with a coat of mail,
and he hath greaves of brass upon his legs, and the staff of
his spear is like the weaver's beam; and one bearing a
shield goeth before him. Our soldiers are truly afraid.
They flee as he approacheth.
Dramatization of "David and Goliath" 47
48 The Dramatization of Bible Stories
GoUcUh [apart from the king and soldiers]; Why are ye
come out to gather your armies to battle? Am I not a
Philistine, and ye servants to Saul? Choose you a man
for you, and let him come down to me. If he be able to
fight with me, and to kill me, then will we be your servants;
but if I prevail against him and kill him, then shall ye be
our servants and serve us. I defy the armies of Israel this
day; give me a man, that we may fight together.
[Some of the soldiers turn and flee.]
Saul: Hear the words of this Philistine. I know not
what we can do. Have we no man among us with the
strength or boldness to fight this giant ? I will enrich him
with great riches.
Second Brother: In truth, he is a mighty giant, O King.
Our soldiers are greatly dismayed; no one will accept this
challenge.
[The king and two soldiers go out. Enter David. He runs
up to his brothers and salutes them.]
First Brother: This is David, our younger brother!
How Cometh it that thou art here ?
Second Brother: I thought we left thee tending the sheep.
Third Brother: What news dost thou bring of our
father ? Is all well with him ?
David: My father commanded me, saying, "Take now
for thy brethren this parched corn and these ten loaves,
and run to the camp of thy brethren; and carry these ten
cheeses unto the captain of their thousand, and look how
thy brethren fare." And I rose up early in the morning,
and left the sheep with a keeper, and came as my father
commanded.
[Brothers take food from David.]
, ,w t : Goliath: Why are ye come oiit to gather your armies
' : \ ," to battle ? Am I not a Philistine, and ye servants to Saul ?
Dramatization of "David and Goliath" 49
Choose you a man for you and let him come down to me.
If he be able to fight with me and to kill me, then will we be
your servants; but if I prevail against him and kill him, then
shall ye be our servants and serve us. I defy the armies of
Israel this day; give me a man, that we may fight together.
[David lisUns. The soldiers seem disturbed and frightened.]
David: What meaneth this ?
Soldier [walks up to David] : Have ye seen this man who
is come up ? Surely to defy Israel is he come up. And
it shall be that the man who killeth him the king will enrich
with great riches, and will give him his daughter, and make
his father's house free in Israel.
David: Who is this Philistine that he should defy the
armies of the living God ?
First Brother [showing anger against David]: Why
camest thou hither ? And with whom hast thou left those
few sheep in the wilderness ? I know thy pride, and the
naughtiness of thy heart; for thou art come down that thou
mightest see the battle.
David: What have I now done ? [He turns from his
brothers and speaks to the people,] What shall be done with
the man that killeth this Philistine and taketh away the
reproach from Israel? For who is this Philistine that he
shoidd defy the armies of the living God ? I will fight him,
and if I prevail against him and kill him, then will the
Philistines be our servants and serve us. The Lord God
of Israel wiU deliver him into my hands.
Soldiers: Saul, the king, shall hear these words!
SCENE n. DAVID BEFORE SAUL
Place: Saul's tent.
David [comes in and salutes the king\i Let no man's
heart fail because of this giant; thy servant will go and
fight with this Philistine.
50 The Dramatization of Bible Stories
Saul: Thou art not able to go against this Philistine
to fight with him; for thou art but a youth, and he a man of
war from his youth.
David: Thy servant kept his father's sheep, and when
there came a lion or a bear, and took a lamb out of the
flock, I went out after him and smote him, and delivered it
out of his mouth; and when he rose up against me, I caught
him by the beard and smote Him and slew him. Thy
servant slew both the lion and the bear; and this Philistine
shall be as one of them, seeing he hath defied the armies of
the living God. The Lord that hath delivered me out of the
paw of the lion, and out of the paw of the bear, he will
deliver me out of the hand of this Philistine.
Saul: Go, and the Lord go with thee. [To soldiers]:
Bring forth armor; this youth must be ready to meet
the foe.
[The soldiers bring armor, Saul puts the armor, a helmet
and a coal of mail, on David. David puts on his sword,
then walks a few steps. He suddenly throws the sword down
and begins to take of the armor,]
David: I cannot go with these, for I have not proved
them. [He takes the armor of and keeps only his shepherd's
staff and sling.] The Lord that delivered me out of the
paw of the lion, and out of the paw of the bear, he will
deliver me out of the hand of this Philistine.
[He bows to the king and goes out.]
SCENE m. THE BATTLE
Place: The battlefield.
[David picks up five smooth stones and puts them into his
shepherd bag. Goliath comes toward him. He is
dressed in arm^, and the man that bears his shield comes
before him. Goliath looks surprised and disgusted when
he sees David.]
Dramatization of "David and Goliath'' 51
Goliath: Am I a dog that thou comest to me with
staves? Come to me and I will give thy flesh unto the
fowls of the air and imto the beasts of the field.
David: Thou comest to me with a sword, and with a
spear and with a shield; but I come to thee in the name of
the Lord of hosts, the God of Israel, whom thou hast defied.
This day will the Lord deliver thee into mine hand; and I
will smite thee, and take thy head from thee; and I will
give the bodies of the Philistines unto the fowls of the air,
and imto the beasts of the field, that all may know that there
is a God in Israel. And all this assembly shall know that
the Lord saveth not with the sword and with the spear, for
the battle is the Lord's and he will give you into our hands!
[David puts his hand into his bag and takes out a stone and
slings it, so that it hits the giant in the forehead. The
giant falls. The Philistines flee. David stands with his
foot on the body of the giant.]
Israelite Soldiers with David: The battle is the Lord's!
End
CHAPTER V
THE DRAMATIZATION OF MOSES IN THE
BULRUSHES
The method of presenting the story of Moses
in the Bulrushes differed somewhat from that em-
ployed with Joseph. There was little need to tell
the story at the beginning, for every child already
knew it in detail. Consequently the leader had
the children tell most of it, while she supplemented
and directed attention to important parts.
In this case the entire play was planned roughly
before any of it was acted. The story was criti-
cized by the children as to its organization and
unity, and as a result they made up an ending
(Act III) which they felt was needed to make the
story complete. Experience with the other plays
had led the children to feel the necessity for having
a satisfactory ending after the climax.
At the second meeting several girls brought
in the scenes as they had written them out. They
had tried to embody the points which the children
had decided upon as the general plan of the play.
The final play varies very Httle from these scenes
thus written by the girls themselves.
There was no difficulty in solving the problem
as to what they would do for a baby in the fixst
52
Dramatization of "Moses" 53
part of the play. Many dolls were brought in,
and the choice fell upon the one that received the
largest number of votes because of his likeness
to the baby Moses. A woven basket served for
the cradle of bulrushes. There were many re-
hearsals when there was no doll or cradle, but the
children never felt the lack. Their imaginations
can supply all needs.
A few big Egyptian designs were made for the
first and last scenes, which were placed in the king's
court. These were fastened on the walls and around
the king's seat, as was done in the play of Joseph.
Before the play was given before parents and
friends the children decided to call it The Childhood
of Moses. An older boy in the church printed
programs for the occasion that the audience might
better understand the play. They read as follow.«^*
The Childhood of Moses
Dramatized and Presented by the Children's Dramatic Club
of the Hyde Park Church of Disciples
CHARACTERS
Pharaoh King of Egypt
Princess Pharaoh's Daughter
MosES A Hebrew Boy
Hebrew Woman Mother of Moses
Miriam Sister of Moses
Aaron Brother of Moses
Wise Men Advisers of Pharaoh
Soldiers, Attendants to the Princess,
Servants
54 The Dramatization of Bible Stories
SYNOPSIS OF SCENES
Act I. Pharaoh orders the killing of Hebrew boys.
Act II, Scene i. In the home of a Hebrew family.
Scene 2. A Hebrew mother hides her child among
the bulrushes.
Scene 3. The child is found by Pharaoh's daughter.
Act III. Moses is brought to Pharaoh's court.
The following is the play as it was given:
THE CHILDHOOD OF MOSES
Act I
Characters: King, Wise Man, Chief Adviser, Queen,
Maids, and Soldiers.
King: Behold, the people of the children of Israel are
more and mightier than we. Come, let us do wisely with
them lest they rise up and make war against us.
Chief Adviser: What more can we do than we have
already done ? We have made their lives bitter with hard
service, and we have made them carry our brick and mortar
and work in our fields.
Wise Man: O King Pharaoh, I beg thee to let me speak.
King: Speak, Wise Man.
Wise Man: O King, I pray thee to be kind to these
people. When these Hebrews first came down from the
land of Canaan, a young man named Joseph saved our land
from great famine. These Israelites are his children's
children and we shoidd treat them kindly.
King: Treat them kindly! We have been kind to them
long enough; we must destroy them. I will command that
eveiy Hebrew boy baby be killed!
[Exeunt Ejng and courtiers followed by soldiers,]
Princess: O most gracious father, have mercy upon them.
Dramatization of "Moses" 55
Act II
SCENE I
Place: The home of a Hebrew family.
Characters : Moses, Mother of Moses, Miriam, Aaron.
[The mother is singing to the baby in her lap. Aaron is
playing on the floor. Miriam runs in,]
Miriam: O mother! The king has commanded that
all the boy babies be thrown in the river! How can we save
our baby ?
Mother: Where shall we take him ? I have hidden him
for these three months, but he is so big now and his cries
are so loud that they will be sure to find him wherever we go.
Miriam: Come quickly, mother; we will go to the river
and hide him nearby. Pharaoh cannot find him there,
for he will think that he has been thrown in the water.
Mother: O my poor baby!
[The three run out,]
SCENE n
Place: The river bank.
Characters: Moses, Mother of Moses, Miriam.
[The mother appears with the baby in her arms, Miriam
follows.]
Miriam: O mother! We can hide him in these tall
grasses!
.Mother: But I must have something to put him in.
Gather these rushes and I will weave a little cradle for him,
[They both pick bulrushes and the mother weaves the basket.]
Mother: How can I Ifeave him here alone ? My little
daughter, will you stay and watch and bring me word
quickly if anything happens ? We will hide the baby in
this basket among the flags, here at the edge of the water.
56 The Dramatization of Bible Stories
Miriam: Good! Mother, I will hide nearby and see
that no harm comes to our baby.
[The mother kisses the baby and puts him in the basket ^ then
rises and turns away.]
Mother: Keep watch until I return.
[Exit mother; Miriam hides,]
SCENE in
Place: The river bank.
Characters: The Princess, Her Maidens, Soldiers,
Moses, Mother of Moses, and Miriam.
[Several soldiers walk across the stage. Enter Princess and
her maids.]
Princess [looking around]: What beautifid clear water
for my bath !
First Maid: Yea, Princess. Will you bathe here ?
[A baby's cry is heard.]
Princess: What is it I hear? It sounds like a baby
crying! Look about, maidens! Is there something here?
[All look about.]
Second Maid [finds baby; all come running up to her]:
See what is here!
Princess: A baby hidden in a basket! Bring him
to me!
[Third maid hands basket to Princess, who takes the baby out.]
Princess: Oh, what a beautiful baby! He is mine, for
I have found him! A Hebrew baby! His mother has
hidden him in the bulrushes to save his life.
[Miriam runs out.]
Miriam: Lady, would you like a nurse for that baby ?
Princess: A nurse for him ? Yes, I do need a nurse.
Dramatization of ''Moses'' 57
Miriam: I can get you one very quickly.
Princess: Go bring her, child; I will wait here.
[Miriam goes away running.]
Princess: He is my boy, and I will call him Moses, for
I drew him out of the water.
[Enter the mother and Misiam.]
Miriam: Here is the nurse, lady.
Princess: Will you take good care of this baby for me
until he becomes a youth ? I will pay you wages. I am
the Princess, King Pharaoh's daughter. I will see that he
is educated as a prince in my father's court.
[Princess and her maids go out.]
Mother: My boy is saved! My boy is saved I
Act III
SCENE I
Place: Pharaoh's palace.
Characters: King Pharaoh, Princess, Maids, Soldiers,
Wise Men, Mother of Moses, Moses, Miriam, Aaron.
[King sits on his thronCy wise men and soldiers around.
Enter messenger.]
Messenger: O King, the Princess awaits without and
would have speech with thee.
King: Bid her enter.
[Enter Princess and a jew attendants.]
Princess: O gracious King and father, I have a request,
and I beg that you grant it.
King: Speak, my Princess; do I not always grant what
you ask ?
Princess: Yes, father, and I know that you will grant
me this. Several years ago I adopted a son and I ask that
you allow him to be educated in your palace.
58 The Dramatization of Bible Stories
King: Adopted a son! What can be the meaning of
this ? I never heard of this! Where did you get the boy ?
Princess: I found him, a little baby, hidden among the
rushes by the river bank.
King: Why was he hidden ? That is strange!
Princess: He is a Hebrew boy, O father.
King: A Hebrew boy! Did I not command that every
Hebrew boy should be killed ?
Princess: I must take the blame; I had his life spared.
Will you not let him be brought here ?
King: No, I will not ! No Hebrew boy shall be brought
here!
Princess: If you would only see him, he is so beautiful,
you would love him as I do. He is without; permit me
to show him to you.
Ktng: Bring him in.
[Maid goes to get Moses. Moses enters with his mother,
Miriam, and Aaron. Princess leads him to the King.]
Princess: This is my son. Is he not a wonderful boy ?
King: He is fair to look upon, but yet he is a Hebrew.
Princess: O my father, forget that he is a Hebrew and
remember only that he is my son.
King: O my Princess, for your sake, I accept this boy.
I leave his training to you. May he grow up to be a prince
worthy of the house of Pharaoh.
End
CHAPTER VI
THE DRAMATIZATION OF RUTH
Ruth was dramatized by the club during the fall
of the year because it is a story of the Hebrew
harvest time. In order fully to interpret the life
of Ruth it was necessary for the children to secure
information concerning the barley harvest in
ancient Palestine, and also to become familiar with
the old customs involved in the story. Many chil-
dren brought pictures which illustrated the points
under discussion, and some of them contributed by
telling what they had been able to read at home.
Independence on the part of the children in looking
up data was always encouraged by the leader; the
information which she had to give enriched and
supplemented that which was brought in by them.
During the process of this dramatization con-
stant comparisons were made with our own harvest
time, and the study of the Hebrew harvest feasts
and festivals served to increase the understanding
and appreciation of our one harvest festival at
Thanksgiving.
The method of procedure in presenting this story
for dramatization follows closely that described in
connection with Joseph. The Bible version of
59
6o The Dramatization of Bible Stories
Ruth is so simply and beautifully told that it
needed very little adapting. When it was first
given to the children parts of it were read and
parts were told by the leader. Many scenes were
then planned, but these were soon cut down to
the three necessary scenes. From the first the
children used much of the Bible language as they
*
acted the story. The beauty and the poetry of
it caused them to remember readily the exact
wording in many cases.
Seven meetings were required before the group
was satisfied with the play as a product of their
best efifort. As was the case with the other plays
given by the club, the children who were to take
the parts in the final presentation were selected
by the group and not by the leader in charge.
Every child knew each part and could represent
any character, but children were chosen for specific
parts because they seemed to represent certain
characters unusually well.
The dramatization of this story called for much
construction work. The reapers made their sickles
of cardboard and covered them with gold or silver
paper or painted them. They found pictures which
gave the shape, and from these they cut the pat-
terns (Fig. 1 5) . One little girl brought a real sickle
which had once belonged to a Filipino. It gave
her happiness to reap with it, but the others were
just as content to use the sickles from cardboard.
Dramatization of **Ruth'' 6i
The need for a harvest song was felt, and in
consequence a little song that most of the children
knew was decided upon. The reapers sang it as
they reaped and while Boaz was walking through
his grain field. There was no real grain nor any-
thing to represent it, the children deciding to leave
this to the imagination. The action of the reapers
and the words that were spoken gave evidence
enough that grain was growing there.
There was very little stage setting used in the
play. The stage was bare in the first scene in order
to represent the road from Moab to Bethlehem.
In the second scene a big earthenware jar was
needed from which the reapers could drink. The
third scene required a box which represented a
seat by the city gate; the door which led off the
stage at the side was used for the gate.
The action and the grouping of people in the
third scene required careful planning by the chil-
dren. Women came through the gate and passed
down the street with water jugs on their shoulders;
men gathered in groups to discuss bits of news;
Boaz walked toward the gate and sat waiting for
his kinsman. Finally, when the cousin appeared,
Boaz hailed him and had him sit down. The
citizens who were standing near were asked to be
witnesses in this business transaction. That one
man should take off his shoe and hand it to another
was a custom that created much interest among the
62 The Dramatization of Bible Stories
children. They began to examine pictures for the
kinds of shoes that were worn, and this led many of
them to wear their own sandals, which approached
most nearly to those seen in the pictures. The chil-
dren who did not own sandals tried to make them
with cardboard and strips of cloth (see Fig. 26).
The costuming was very simple. The reapers
wore the same little brown slips which had been
worn in every play that had been given. Boaz
enriched his costume by wearing brighter colors
in his headdress and girdle and by wearing a slip
that was longer than the others.
The play follows as it was finally given.
RUTH
SCENE I
Place: In Moab, on the road to Judah.
Characters: Naomi, Ruth, Orpah.
Setting: Naomi, Ruth, Orpah, are on the road going
toward Judah.
[Naomi stops and faces about.]
Naomi: Turn back, my daughters-in-law; return each
of you to your mother's house. You have come with me
far enough. I must take the rest of my journey alone.
Orpah and Ruth: Oh, do not send us back ! We will not
leave thee!
Naomi: Yea, you must leave me now. I am going
home to my own country and my own people, to Bethlehem,
Judah! It is ten long years since I left there to come to
dwell in your land of Moab. But now that the famine is
over I must return.
Dramatization of "Ruth'' 63
Orpah: But, Naomi, our mother-in-law, we love thee. •
Do not thou leave us I
Naomi: I must go. I came to this country happy —
with my husband and two sons — ^but misfortime has dealt
bitterly with me. My husband first died, and now my two
sons, your husbands, are taken from me. I am old and sad.
I have no one left to comfort me. I must go back to mine
own people. Leave me, my daughters, and God bless you!
[Both daughters weep.]
Orpah [weeping and kissing Naomi]; If thou wilt be
happier, then thou must leave us. I will return to my
mother's house as thou sayest . [She goes of slowly, weeping.]
[Ruth still stands by weeping. Takes hold of
Naomi's hand.]
Naomi: Behold,' Orpah, thy sister-in-law, has gone
back to her people and imto her gods; return thou after thy
sister-in-law.
RtUh: Intreat me not to leave thee, nor to return from
following after thee: for whither thou goest, I will go;
and where thou lodgest, I will lodge; thy people shall be
my people, and thy God my God: where thou diest, will
I die, and there will I be buried: the Lord do so to me, and
more also, if aught but death part thee and me.
Naomi: Since thou art so steadfastly minded to go with
me, Ruth, I will cease urging thee. Come, thou mayest
go with me to Bethlehem. •
SCENE II
Place: In the barley fields of Boaz.
Time: The harvest season.
Characters: Boaz, Ruth, Head Reaper, Reapers,
Gleaners.
[The reapers come in with their sickles, followed by
the gleaners.]
64 The Dramatization of Bible Stories
Head Reaper: Truly we have a wonderful harvest this
year!
First Reaper: Yea, we will have food enough for our-
selves and for all the poor in our city of Bethlehem.
Head Reaper: It is the great God that hath given us
this bounty.
[All sing harvest song as they reap. While they are singing
Ruth comes in and begins to pick up the grain.]
Second Reaper {looking toward the entrance to the field] :
The master is coming, the great Boaz!
[All reapers look in that direction as they stand, resting their
sickles on the ground. Boaz enters.]
Boaz: The Lord be with you!
Reapers: The Lord bless thee!
[All go to work again, singing as before. Boaz walks among
them; he sees Ruth and watches her.]
Boaz [to the Head Reaper]: My good man, I would
speak a word with thee; come hither.
Head Reaper: Speak, O master!
Boaz: Whose damsel is this that gathereth grain after
the reapers ?
Head Reaper: My master, she is Ruth, the Moabitish
damsel that came back with Naomi, thy kinswoman. She
hath been gleaning here since early morning.
Boaz: Go, bid the reapers not to harm her, and bid
them let fall purposely some of the handfuls of grain for her.
[The Head Reaper bows low and goes back among the reapers.]
Boaz [to Ruth]: Hearest thou not, my daughter? Go
not to glean in another field, but stay here by my reapers.
Let thine eyes be on the reapers, and do thou glean that
which they leave behind. When thou art athirst, go unto
the vessels and drink that which the young men have drawn.
Dramatization of ''Ruth" 65
Ruth [bows to the ground] : Why have I found such favor
in thine eyes, seeing that I am a stranger in the land ?
Boaz: It has been told me of thy great kindness to thy
mother-in-law, Naomi; how thou didst leave thine ovn
people to come with her and be among strangers; and how
thou didst leave, thy gods to take the God of the children
of Israel. The Lord will bless thee for this.
Ruth: I thank thee, O great Boaz, for thou hast com-
forted me and thou hast spoken friendly words unto me.
Boaz: Come hither at meal times and eat of the bread
and dip thy morsel in the vinegar with my reapers.
[The reapers have departed, Boaz goes off.]
Ruth: The Lord God is truly good imto me!
SCENE ni
Place: At the gate of the city.
Characters: Boaz, a Cousin of Naomi, Ten Citizens,
Ruth, Naomi.
[Several citizens stand in groups, talking. Boaz enters.]
Boaz [speaks to one of the group]: Hast thou seen my
cousin pass this way ? I am seeking him.
First Citizen: Nay, good sir, I have not seen him.
Boaz: I must speak with him; I will wait here by the
dty gate; perchance he will come soon.
[One or two citizens pass by and speak to Boaz, saying,
*'Good-4ay, sirJ* Enter Kinsman.]
Boaz: Ho, Kinsman, turn aside! I would have a word
with thee. Sit thee down.
[Kinsman sits down.]
Kinsman: What wilt thou, Cousin ?
Boaz: I would speak about a matter of importance;
wait thou here until I can bring witnesses. [He turns to
66 The Dramatization of Bible Stories
citizens,] A piece of land is about to be sold; will ten
citizens witness this deed ?
Citizens: Aye, indeed. [They come forward.]
Boaz: Sit ye down here. [They sit down.] [To
Kinsman]: Dost thou remember Naomi, our kinswoman,
who went with her husband and two sons to the land of
Moab?
Kinsman: Yea, I do know Naomi.
Boaz: She selleth a parcel of land which was her hus-
band's. Now, thou art nearest of kin to Naomi, so I
thought to advise thee that thou mayest have the first
chance to redeem the land in the presence of the elders of
the city. If thou dost not care to redeem it, then the right
to redeem it cometh to me, for I am next of kin. What
wilt thou do ?
Kinsman: I will buy the land from our kinswoman,
Naomi.
Boaz: On the day that thou buyest the field from the
hand of Naomi, thou also takest Ruth, the Moabitess, for
thy wife, according to our custom and law.
Kinsman: Then I will not redeem the land, for I cannot;
take Ruth for my wife. Take thou my right to redeem itl
and buy it for thyself.
Boaz [taking of his shoe and giving it to the Kinsman, he
says to the witnesses]: Ye are witnesses this day that I
have bought this parcel of land from Naomi and that I buy
also, as iny wife, Ruth, the daughter-in-law of Naomi. Of
all this ye are witnesses.
Citizens: We are witnesses. [Bow.]
[Kinsman returns shoe to Boaz and walks of. Ruth and
Naomi come through the street.]
Boaz: Ye are well met, Naomi, my kinswoman, and
Ruth. I have good news for you; I have bought your land
Dramatization of "Ruth" 67
and I can now take Ruth for my wife. Come, all ye fellow-
citizens, for the wedding feast is prepared at my house!
[Takes Ruth by the hand.]
Naomi: Blessed am I that I should live to see this good
thing come to pass! The Lord hath been most gracious
unto me!
End
CHAPTER VII
THE DRAMATIZATION OF QUEEN ESTHER
The story of Esther involves a much more com-
plicated situation than any of the others here
described. It is not too difficult for dramatiza-
tion, however, if it is taken after such stories
have been worked out as David and Goliath and
Joseph.
In the case of this dramatic club the story of
Esther was told to the children after they had had
much experience with other plays. The interest-
ing plot and the beauty and richness of the court
made so great an appeal to them that they were
eager to begin the dramatization. The story was
first simplified and adapted by the leader, and then
told in such a manner as to emphasize the main
events. The method of procedure followed that de-
scribed in chapter iii in connection with the story
of Joseph. After the telling of the story the scenes
were selected. These were acted out very freely
at first, little thought being given to the words.
Many pictures were brought in, and descriptions
of the court of King Ahasuerus were read by the
children from the Bible and from books of Bible
stories.
68
Dramatization of *' Queen Esther'' 69
In the second scene the children decided to have
the maidens dance before the King. Several Uttle
girls who were trying out the part of Esther made
up dances for themselves. This feature made this
scene especially attractive.
This play was longer than those that had pre-
viously been dramatized, and it therefore took a
longer period of time to bring it into final shape.
There is no reason to hurry a dramatization. If
the aim of this kind of work is kept in mind, there
will be growth on the part of the children at each
meeting. The value lies, not in how many stories
can be dramatized during a year, but in how
thoroughly the children are reliving a few good
stories.
The play of Queen Esther made it necessary to
construct several articles. Gold dishes of various
kinds were made by covering cardboard with gold
paper. These were used at the Queen's banquet.
From the many scepters that were submitted the
King chose the one for final use. Elaborate gowns
and headdresses were gathered; beads and jewels
of all descriptions were made from brilliantly
colored papers.
The children took the responsibility of the cos-
tuming. The majority of them planned their own
garments and either brought things from home or
selected some suitable costume from those which
the club had on hand. Two of the older girls
70 The Dramatization of Bible Stories
took entire charge of the younger ones and saw
to it that each had some simple slip to wear in
the play.
The play follows as it was finally worked out by
the children.
THE STORY OF QUEEN ESTHER
SCENE I
Place: The King's palace — Shushan.
Characters: King Ahasuerus (king of Media and
Persia), Haman (chief counselor), Persian Princes,
Servants.
[The King is seated on his throne, princes seated before the
King, and Haman is seated by the King's side.
Servants are bringing drinks in golden vessels.]
King: The seventh day of this feast hath come, and
on this day will I bring my beautiful Queen, Vashti, before
you. The princes of my land must depart, bearing a good
report of my fair Queen as well as of the great riches of my
court. Chamberlains, come forth! [The servants come
before the King and bow,] I conmiand you to bring Vashti,
the Queen, before my presence. [Servants withdraw,]
First Prince: O King, this is a great honor that thou
bestowest upon us!
Second Prince: Yea, Vashti, the. Queen, is already
known over the land for her wondrous beauty. We are
most happy that thou wilt allow thy servants to behold her.
Third Prince: What wonderful tidings we will spread
over thy provinces, O King. Thy people do not know the
half of thy riches and thy wonderful greatness and gener-
osity.
[Enter servants. They bow low,]
Dramatization of ** Queen Esther'' 71
King: Rise; what is thy message ?
[They do not rise,]
First Servant: O King, be merciful unto us!
[They bow lower.]
King: What meaneth this? Speak! [in astonishment]
I command thee. Where is the Queen ?
Second Servant: O great King, we delivered thy mes-
sage as thou didst command, but the Queen has refused
to come before thy presence.
[All the princes and the King show surprise and anger. '\
King: Refused to obey me ? This is impossible! Are
ye certain, that she understood the meaning of my com-
mand?
Servants: We are, O King.
King: She hath refused! It cannot be! [He looks
absently away.] She must be punished.
Haman: What shall we do to Queen Vashti according
to the law, because she hath not performed the command-
ment of King Ahasuerus ?
First Prince: She hath not done wrong to the King
only, but also to all the princes of the land, for this deed of
the Queen shall become known unto all the women of Media
and Persia and they shall despise the command of their
husbands: "Because," they shall say, "King Ahasuerus
conunanded Vashti, the Queen, to be brought before him
and she came not."
Second Prince: What shall we do? This will cause
great trouble and disobedience.
King: What thinkest thou, Haman, my chief counselor ?
Haman: If it please the King, let there go forth a royal
conmiandment and let it be written among the laws of the
Medes and Persians that Vashti come no more before
Ahasuerus, and let the King give her royal estate to another
72 The Dramatization of Bible Stories
that is better than she. Then when this decree shall become
known all wives shall give honor unto their husbands.
King: This saying pleaseth me greatly. I shall do
accordingly. [To servants]: Send letters imto every
province to every people, which shall state this decree, so
that every man shall know it.
Haman: O King, I pray thee, let there be fair maidens
brought before thee from which thou shalt choose another
which shall be thy Queen.
King: So be it! See that fair maidens from every
province be brought here to my palace; and the one that
pleaseth me best, I will take her for my Queen.
[All how.]
SCENE n
Place: At Shushan, the palace.
Characters: King Ahasuerus, Mordecai, Maidens,
Haman, Servants, Courtiers.
[Two servants are standing in the court room of the palace.
Enter a messenger followed by Esther and Mordecai.]
Messenger [announces to the servants in the room]: This
maiden has come to see the King.
[He goes out.]
First Servant: This is the place. Wait thou here.
[To Mordecai] : What art thou here for ? Thou wilt have
to depart.
Mordecai: I only brought this maiden. I beg of thee
let me have a few words with her; then I will withdraw.
First Servant: Speak then quickly, before the King
Cometh.
[Servants withdraw to another part of the room.]
Mordecai [taking Esther's hand]: Esther, my child,
thou art like my very child, for although I am but thy
Dramatization of "Queen Esther" .73
74 The Dramatization of Bible Stories
uncle I have been as a father to thee. I bid thee farewell
now, for it seemeth to me that the King will surely choose
thee to be his Queen — thou art so fair. This one thing
remember, tell him not that thou art a Jewess. Fare thee
well, Esther! May the Lord bless thee!
Esther: Farewell to thee, Mordecai!
[MoRDECAi goes out. Other maidens come in announced by
the messenger.]
Messenger: These maidens would see the King.
[The servants show them where to sit. Enter second
messenger.]
Second Messenger: The King! The King!
[Enter King and Haman. King sits on his throne.]
Second Servant, [bowing before the King]: O King, the
maidens from all parts of the country have arrived and
await thy pleasure.
King: Let them come before my presence one at a
time, and I will choose from among them the one that
seemeth most fair.
[The musicians begin playing and^ one by one, the maidens
come out. They bow and dance. Estbek comes last of
all. As Esther dances the King speaks.]
King: What marvelous beauty! Surely this maiden
is fair enough to be my Queen.
Haman: Yea, O King, thou art right; she should be
thy Queen.
King [takes Esther's hand]: What is thy name, fair
maid ?
Esther: My name is Esther, O King.
King: Esther, I do here take thee to be my Queen.
Bring the royal crown and the Queen's robes!
[Servants come immediately and put them on her.]
Dramatization op "Queen Esther"
^6 The Dramatization of Bible Stories
King [leading Esther out]: Come unto the wedding
teast which is now prepared. All are welcome!
scene in
Place: The palace gate.
Characters: Haman, Mordecai, Servants, Esther.
[Servants are standing and walking by the gate. Women
come by carrying water jars, Mordecai stands apart
from the crowd. Herald comes in.]
Herald: Bow the knee, bow the knee. The chief
counselor, Hainan, approacheth! Thus saith the King.
[Haman com^ in. All how to him except Mordecai.]
Haman [pointing to Mordecai]: Who is this man who
doth not bow the knee to me ?
First Servant: He is Mordecai, the Jew, my lord. [To
Mordecai]: Why dost thou break the King's conunand-
ment?
Haman: Thou Jew! Dost thou think that thou art
mightier than I, whom the King hath set above all the
princes of the land ? Thou shalt suffer for this. [Turns to
servant.] Send letters unto all the King's provinces, to
destroy, to kill, and to cause to perish all Jews, both young
and old, little children and women, in one day — even upon
the thirteenth day of the twelfth month, and to take the
spoil of them for prey.
[Servant hows and goes away, Haman passes on, leaving
Mordecai with two servants. Mordecai, in deep
thought, walks anxiously up and down.]
Mordecai: I must see Queen Esther. Canst thou not
take me to the Queen ?
Second servant [laughing scornfully] : Thinkest thou that
the Queen will see thee ?
Dramatization of "Queen Esther'* 77
Mordecai: Give the Queen this paper and say to her
that I, Mordecai, the Jew, bid her come to me.
[Servant withdraws.]
Mordecai [walking, talks to himself]: Israel, O Israel,
my people! You shall not perish. Esther, your Queen,
will save you.
[Enter Esther.]
Esther: Mordecai, my unde, why art thou here?
Thou lookest unhappy. Hath aught happened to thee ?
Mordecai: Yea, Esther, I am xmhappy. I have sorrow-
fid news to tell thee.
Esther: Chamberlains, withdraw! Speak, Mordecai;
tell me quickly. It may be that I can help thee.
Mordecai: Esther, thou canst help me, and thou art
the only one who can. Haman, the King's counselor,
hateth the Jews — thy people and mine. He hath sent a
decree over all the country commanding that every Jew,
both old and young, little children and women, be killed
on the thirteenth day of the twelfth month. Esther, thou
must save thy people and thyself ? Thou must go before
the King and beg of him that he spare thy people.
[Esther shows great distress.]
Esther: Oh, what shall I do ? Dost thou not know that
for one who dareth to go before the presence of the King,
if the King hath not called him, there is certain death;
except to whom the King shall hold out the golden scepter —
he may live ? I have not been called to come in unto the
King these thirty daj^. He will surely put me to death
for such boldness.
Mordecai: Thou must go unto the King even so.
Think not that thou wilt escape death from Haman because
thou art in the King's house. Who knoweth but that thou
hast been made Queen for such a time as this!
78 The Dramatization of Bible Stories
Esther [after thinking deeply]: Go, gather together all
the Jews that are present in Shushan, and fast ye for me,
and neither eat nor drink for three days, night or day;
I also and my maidens will fast likewise — and so I will go
in unto the King, which is not according to the law, and if
I perish, I perish.
Mordecai: May the Lord go with thee!
SCENE IV
Place: In the court of the King's palace.
CHAEtACTERS: King Ahasuerus, Esther, Haman, Court-
iers, Servants.
[The King sits on his throne. Queen Esther enters and
bows before the King. The King looks at her
in astonishment,]
Courtiers [in loiid whispers]: The Queen! It is the Queen!
King: Esther, hast thou dared to come before my
presence when I have not called thee ? Thou surely dost
not know what thou art doing! This act of boldness can
mean thy death i But thou art so beautiful, Esther, I
cannot be hard with thee. Rise! [He holds out the golden
scepter.] What is the request that has brought thee here ?
It shall be given thee, even though it be half of my kingdom.
[Esther touches the scepter and rises.]
Esther: If it seemeth good imto the King, let the King
and Haman come this day unto the banquet that I have
prepared for them.
[She turns and goes out.]
King: Hearest thou, Haman? Make haste and let
us do as Esther hath said. Come, we will prepare for this
banquet.
[Haman bows. The King and Haman go out. Others
follow.]
Dramatization of "Queen Esther" 79
8o The Dramatization of Bible Stories
SCENE V
Place; The Queen's apartment.
Characters: Queen Esther, King Ahasuenis, Haman
Servants, Mordecai.
[The servants are preparing the feast. Enter Esther.']
Esther: See ye that the feast is in readiness, for the
King will soon arrive.
{Servants how.]
Servant: The King cometh!
Esther [going to meet the King as he enters]: Welcome,
my lord!
[The King sits upon a throne prepared for him.]
King: I am happy to be with thee, my fair Queen.
Thou must have a request which thou desirest to make —
speak, be not afraid. I will grant it though it be half of
my kingdom.
Esther: If I have found favor in thy sight, O King,
and if it please the King, let my life be saved and the lives
of my people — ^the Hebrew people. We are to be destroyed,
to be slain and to perish.
King: Thy people? The Hebrew people? Who is
this and where is he that dareth in his heart to do this
thing to thy people ?
Esther: The enemy is thy chief counselor, this wicked
Haman. ,'
King: Did Haman do this deed? How didst thou
know of his plan ? /
Esther: ' O King, Mordecai, the Jew, my imcle, hath
shown me the letter which y^aman hath sent over the
coimtry. The Jews are to be killed on the thirteenth day
of the twelfth month. I am begging thee for my life and
for the lives of my people! /
Dramatization of "Queen Esther" 8i
82 The Dramatization of Bible Stories
King: Fear not, Esther; thy people shall be saved.
Mordecai, the Jew, hath once done me a great service. He
hath not been rewarded for this He shall have honor, for
he deserveth it.
Servant: The great Haman hath come, O Queen.
[Hainan enters; they seat themselves, and the feast is served.]
King: Haman, what shall be done imto the man whom
the King delighteth to honor ?
Haman [aside]: Whom would the King like to honor
more than myself? [To the EIing]: For the man whom
the King delighteth to honor, let the royal apparel be
brought which the King useth to wear, and the horse which
the King rideth upon, and the royal crown which is set
upon his head; and let these be given the man whom the
King delighteth to honor; and let him ride on horseback
through the streets oi the dty; and proclaim before him,
"Thus it shall be done imto the man whom the King
delighteth to honor!"
King: Make haste and take the royal apparel and the
horse as thou hast said and do even so unto Mordecai, the
Jew, that sitteth at the King's gate. Let nothing fail of
all that thou hast spoken.
[Haman bows his head low and goes out to Mordecai.]
Servani: King, Haman hath built a gallows upon
which to hang Mordecai, the Jew, this day.
[Haman returns with Mordecai and puts on the crown, etc.]
King: Let him who hath made the gallows hang upon it !
[Servant takes Haman out.]
King: Come near, Mordecai. Thou hast foimd great
favor in mine eyes. From henceforth thou shalt be my
chief counselor, and thou shalt rule the land in Haman's
place. Thy people shall be spared, and letters shall be
Dramatization of "Queen Esther'' 83
sent over all the land and into every province which shall
state that the Hebrew people shall not be destroyed, but
instead they shall be honored and have joy and feasting.
Mordecai: I thank thee, O King and Esther, my Queen,
for the great deliverance and for this great honor to me.
May the Lord give me strength to deal wisely with these
peoples.
Esther: This is a great happiness which thou hast
bestowed upon me, O King.
CHAPTER Vin
THE DRAMATIZATION OF ABRAHAM AND THE
THREE GUESTS
This incident should be simplified and adapted
before it is told to children. The dramatization
is best worked out in the form of a short, free play
which involves only one act. It is tmnecessary
to carry it to the point of fixed words and actions.
The emphasis should be placed upon the customs
of the times which are so t^ell brought out in the
story; for example, the hospitality of Abraham
to the strangers represents the feeling toward
strangers among the nomad peoples, and the man-
ner in which he showed his hospitality makes,
children acquainted with customs peculiar to those
people. There is excellent opportimity here for
enriching the children's understanding of the life
of a shepherd people, of which the Israelites are
an example.
Descriptions and pictures of the kind of tent the
people lived in are necessary. It is important that
children should get the idea of the correct shape
of the Arab tent and not confuse it with the Indian
wigwam. No stage scenery need be used; it is
best to leave that to the imagination. A curtain
84
Dramatization of "Abraham' 85
may be put up to represent the front of the tent,
but nothing more.
There is much of this incident that should be
left out in the telling; by no means should it be
read directly from the Bible to children. The
story may be told so that the following points are
emphasized:
Abraham is sitting at the door of his tent.
Three men appear ; he runs to meet them and bows
to the ground. He invites them to rest under the
shade of the tree and offers to get food and to have
their feet washed. The strangers sit and talk
together, then Abraham comes with the food.
They all eat and are rested, and as they rise to
depart they ask for Sarah, Abraham's wife. The
strangers tell Sarah and Abraham that they are
to have a son whose name shall be Isaac and whom
God shall bless and who shall be the father of many
people. Abraham and Sarah are greatly astonished
and pleased. They fall upon their knees to thank
Gk)d, and when they arise they find that the
strangers have departed. The scene closes with
their exclamation, "Surely these were angels from
the Lord who have visited us!"
This story was dramatized by the children of the
dramatic club after they had had experience with
many other dramatizations. During the first hour
after the story was told the children succeeded in
getting the play into very nearly its final form.
86 The Dramatization of Bible Stories
Two of the older girls, undertaking to write out the
scenes as they thought they should be, brought in
their versions at the second meeting. - Each one
was read aloud, the other children being asked to
remember the parts that seemed especially good.
Then by combining, adding to, or taking from, a
composite result was obtained. Several children
wrote down the final decisions at the dictation of
the group.
Below is given the version which one child
worked out by herself, and following that is the
final form of the play which the group as a whole
decided upon. The leader purposely left this play
entirely in the hands of the children; the product
is wholly their own.
THE PLAY EXACTLY AS ONE CHILD WROTE IT
Abraham: The day is hot and I am weary. I will rest
myself from the heat of the day. [He seats himself in the
shade of the tent,]
Sarah: It is indeed hot, and I will bring thee food and
drink that thou mayest refresh thyself. [Sarah retires into
the tent.]
Abraham [rises to his feet and shades his eyes with his
hands]: Sarah, come hither! Yonder are strangers who
are in need of rest. [Sarah comes out, and she and Abraham
kneel before them,] Welcome, strangers, seat yourselves that
ye may rest. My wife, Sarah, will bring you food, and
water that you may wash your feet.
First Stranger: The Lord bless thee, Abraham.
[Sakah and the servants withdraw, and Abraham and the
Dramatization of "Abraham" 87
three men seat themselves before the tent, Sarah returns with
water and food. The strangers wash their feet and eat.]
Sarah [offering them food] : Drink thou this fresh milk,
and refresh thyself with this fruit, for ye look weary.
[They finish eating and Sarah and the servants retire.]
Second Stranger: We bring thee good tidings and would
speak with thee and thy wife. [Sarah comes from within
the tent.]
Third Stranger: We are messengers from the Lord to
tell thee that thou wilt have a son.
First Stranger: He will be the father of many men and
thousands will respect him. Ye shall name him Isaac.
Sarah: That cannot come to pass! For many years
I have been childless, and the Lord will not give me a son.
Abraham [falling on his knees]: Thanks be to the Lord!
A son at last!
Sarah: Can it be that these tidings are true ? If so,
it is indeed a message from the Lord! [She too falls on her
knees before them. The three men quietly leave, and when
Sarah and Abraham rise to their feet they are out of sight.]
Abraham: They were angels from heaven! Our wish
has been granted at last!
End
The following is the play as it was finally
presented:
ABRAHAM AND THE THREE GUESTS
Place: In front of the tent of Abraham.
Characters: Abraham, a Shepherd; Sarah, His Wife;
Three Strangers; Four Servants.
[Abraham and Sarah com^ out of the tent.]
Abraham: The day is hot, and I am weary; I will sit
down and rest in the shade of this tree.
88 The Dramatization of Bible Stories
Sarah: Yea, it is hot. I will bring thee drink and food
that thou mayest refresh thyself, my good husband,
(Sarah goes into the lent. Abraham sees three strangers
approaching. He stands up, shades his eyes wilh his
hands, and looks out over the desert. He calls to SahAH.]
Fig. 7. — The three guests bless Abraham and Sarah
Abraham: Sarah, my wife, come hither! Lo, I sec
three strangers approaching over the desert.
[Sarah comes out of the tent and looks also.]
Sarah: They will be weary and in need of rest. I will
hasten and prepare food and drink for them also.
[Sarah goes away. Abiiaham rises to meet the strangers; he
falls on the ground before them.]
Dramatization of "Abraham" 89
Abraham: Welcome, strangers, to the tent of Abraham !
If I have foimd favor in thy sight, pass not away, I pray
thee! Let now a little water be fetched and wash your
feet, and rest yourselves imder the tree; and I will fetch
a morsel of bread, and this will strengthen your hearts;
after that ye shall pass on.
The Three Strangers: So do as thou hast said, good
Abraham.
[Abraham turns to the servants who are standing near.]
Abraham: Haste ye,^ bring water; fetch a calf, tender
and good. [Servants hasten away,] [To the strangers]:
Sarah, my wife, will make ready three measures of fine meal
and knead it into cakes.
First Stranger: Our host, Abraham, is a true servant of
the Lord.
Second Stranger: We are indeed weary; we have
journeyed far across the desert.
[Servants appear with water and food. Sarah also brings
food to them,]
Sarah: Drink thou this fresh milk, and refresh thyself
with these dates, for ye look weary.
Third Stranger: This is indeed a rest.
[Sarah goes into the tent and the strangers finish eating.
The strangers rise to go.]
Abraham: Tarry yet awhile with us.
First Stranger: We thank thee, good Abraham, but we
must be on our way.
Second Stranger: We would speak with thee and thy
wife, Sarah. Where is thy wife ?
Abraham: Sarah, come hither.
[Sarah appears,]
90 The Dramatization of Bible Stories
Third Stranger: We bring' you a message from the Lord.
You shall have a son, and his name shall be Isaac. He
shall be the father of many men, and thousands shall respect
him.
Sarah: Surely, this cannot come to pass!
Abraham: Thanks be to God for this great gift!
[Sarah and Abraham fall down on their knees before the
strangers. The strangers stretch out their hands
to bless them,]
Three Strangers: The Lord will bless you, Sarah and
Abraham!
[The strangers depart, Abraham and Sarah arise,]
Abraham and Sarah: Surely these were angels from the
Lord!
End
As this play was very short, the suggestion was
made that we might lengthen the program, as well
as make it more interesting, by having some of the
children tell the audience just how we worked up
the dramatization. The two older girls undertook
this and decided entirely by themselves just what
they would say. One of them wrote with great
care a description of the method of procedure.
She read it to the club for approval, then she
learned it by heart and gave it in an interesting
manner to the audience on the day the play was
given. The other girl wrote a poem about it, and
recited it just before the play was given. The
description and poem are as follows:
Dramatization or "Abraham" 91
THE INTRODUCTION
By Margaret Miller
The play which the children are now going to give —
Abraham and the Three Guests — ^has been worked out and
practiced at the dramatic club. This dub meets every
Sunday afternoon from three imtil four o'clock, and is
composed of any of the children of the Sxmday school who
wish to belong.
The first Sunday Miss Miller told the story to the mem-
bers, and then they, knowing it, acted it out, making up
the parts as they went along. This they did several times
imtil they knew the story perfectly.
The two oldest girls did not take part in the acting of the
play, but became assistants and helped Miss Miller direct
it. During the next week the assistants wrote out the
speeches very much as the children had made them up.
These were read before the club and discussed, and after a
niunber of suggestions had been added by all the children
present the scene was finally written as it now is.
The children each took home a part to learn, and the
following Sunday they all tried the different speeches.
Before the final characters were chosen each child was able
to represent any one of them. The final characters were
decided upon by the group and were chosen according to
their preferences and their ability to enact the different parts.
Unfortunately, most of the costxmies which the club
had on hand were much too small for the children this year.
We therefore held a sewing-bee during the week, and
lengthened the old ones or made new ones where we found
it necessaiy.
We have worked on this play for &ve meetings, which
represents altogether five hours, except for a little work
that the assistants did outside.
92 The Dramatization of Bible Stories
We have had much fun with this play, and we are hoping
that you will enjoy it too.
POEM
By Melba Pyle
Before you soon you shall see
The story of Abraham and the Strangers Three,
The partakers, they have worked;
The assistants, they have shirked —
But not as much as you would think,
For they have helped to join each link.
As day by day passed quickly away
We read the Bible and wrote the play.
Each child helped as best he could.
And thus we worked in brotherhood.
Word with word we did neatly join.
Then home we went, our parts to learn.
Next to the box where the costumes lay,
And straight to sewing and not to play.
And 'tis our happy aim, you see.
To make you joyous as can be I
CHAPTER IX
THE DRAMATIZATION OF DANIEL IN THE
LIONS' DEN
The story of Daniel in the Lions* Den was drama-
tized by the members of the club according to the
same methods as those which were used in connec-
tion with the story of Abraham and the Three Guests.
This play is given here in order to show how a
story which deals with a miraculous event may be
treated. When Daniel was thrust into the den
of lions, he was in reality put out of the door which
opens at the side of the stage. The children
readily came to the decision that it was unnecessary
to show Daniel actually in the den of lions on the
stage. In telling the story no explanation was
made or asked for concerning the miracle which
happened. The children accepted it and enjoyed
it as they would any other good story.
The final play which follows represents entirely
the children's interpretation; the product is their
own.
DANIEL IN THE LIONS' DEN
SCENE I
Place: The court room of King Darius.
Characters: King Darius, Daniel, Four Conspirators,
Soldiers, Servants.
93
94 The Dramatization of Bible Stories
[King Darius is seated on his throne. Soldiers and attend-
ants stand nearby. The conspirators are talking together
at one side, Daniel, followed by two soldiers, comes in
and kneels before the King.]
Daniel: King Darius, Kve forever!
King Darius: Good Daniel, I have sent for thee that
thou mayest know my will. It has pleased me to set over
my kingdom one hundred and twenty princes, and over
these princes have I set three rulers. Thou hast been so
faithful and true that I wish to make thee the £rst of these
three rulers. Thou shalt have great responsibility, and
thou shalt report to me when thou thinkest it well to
do so.
Daniel: Thou art kind and gracious unto me, O King!
May the Lord, Jehovah, help me to do this.
King Darius: Come unto the feast, Daniel, and have
the royal robe placed on thee.
[Daniel bows to the King and they both go out, followed by
the soldiers and servants.]
[The conspirators are left alone in the room. They :ihow
great anger and begin talking to each other,]
First Conspirator: See how this Daniel has foimd favor
in the King's sight! He is not of our country, he belongs
to the Hebrew people; but the King has appointed him over
us all! We must destroy this Daniel.
Second Conspirator: Yea, thou art right. What can
we do?
[They all walk back and forth in deep thought.]
Third Conspirator: I can think of nothing against him!
Fourth Conspirator: Thou sayest the truth; he hath
no fault. He is faithful and doth nothing wrong.
First Conspirator: I can think of nothing, save that we
find it against him concerning his God,
Dramatization of '* Daniel'* 95
Fourth Conspirator: Ah, that is true; Daniel worshipeth
a different God; I have seen him praying thrice in one day.
Second Conspirator: Let us influence the King to make
a firm decree that whosoever shall worship any God- or man,
save the King, for thirty days, he shall be cast into the den
of lions.
Third Conspirator: That soimdeth well I If Daniel be
faithful to his CJod, he will surely disobey this decree; and
if the King once signeth it, the law of the Medes and the
Persians saith that it cannot be altered.
First Conspirator: Ah, this will surely be DaniePs ruin
now!
Fourth Conspirator: Come, let us hasten to the King and
have him establish and sign this decree. He will be pleased ;
he will not think of Daniel.
Third Conspirator: Yea, we will hasten before the
setting of the sun.
SCENE 11
Place: The same as in scene i.
Chaeacters: The same as in scene i.
Time: Several days after the events in scene i.
[The King is seated on his throne. The four conspirators
come before the King and kneel,]
The Conspirators: Great King Darius, live forever!
King Darius: Arise, my friends!
First Conspirator: O King, hast thou not signed a
decree that he who shall pray to any God or man within
thirty days, save to thee, shall be cast into the den of lions ?
King Darius: This thing is true, according to the law
of the Medes and Persians, which altereth not.
Second Conspirator: A man in thy kingdom regardetb
not this law, and doth pray to his God three times a day —
we have seen him!
96 The Dramatization of Bible Stories
King [with anger]: Who is this man that breaketh my
laws?
First Cofispirator: He is Daniel, whom thou hast favored
and made ruler!
King Darius [witk surprise and sadness]: Daniel! It
cannot be! Daniel must not die, for I love him.
Third Conspirator: Thou knowest, O King, that the
law of the Medes and Persians is that no decree which the
King establisheth may be changed.
King [sadly]: Thou sayest truly; the King's word may
not be broken. Bring Daniel hither.
[Soldiers go for Daniel. The King walks back and forth
in great distress.]
King [talking to himself]'. Oh, I would that this had not
happened!
[Daniel appears and hows before the King.]
King: Why hast thou disobeyed my law, Daniel?
Wherefore didst thou pray to thy God when thou knewest
of my decree ?
Daniel: Great King Darius, my God, the God to whom
I pray, is the true God, and I shall worship no other. Do
with me what thou wilt.
King: Daniel, I would that thou hadst not done this
thing, for I love thee. Thou art a brave and bold man!
Thy God whom thou servest continually, he will deliver
thee! [To the soldiers]: Take this man from me; cast him
into the den of lions.
\Soldiers take Daniel and thrust him into the den. The door
is closed, and the King seals it with his signet. The King
and attendants withdraw. The conspirators are alone.]
First Conspirator: Daniel has faUen at last! No longer
will he be the King's favorite!
Fourth Conspirator: We, instead , will be the favored ones !
[They leave the room in high spirits.]
Dramatization of "Daniel" 97
SC£N£ m
Piacf: The same as in scene i.
Chakacters: The same as in scene i.
Time: The next morning after the events in scene ii.
[The King hastens to the door of the lions* den.]
King [calling eagerly]: O Daniel, servant of the living
God, is thy God, whom thou servest continuaDy, able to
deliver thee from the lions ?
Daniel [from within]: O King, live forever! My God
hath sent his angel and hath shut the lions' mouths, and
they have not hurt me, for the Lord knoweth that I have
done no wrong, either before him or thee, O King!
King [to servants who have followed him into the room] :
Come hither, servants! Quickly bring Daniel out that I
may see him!
[The door is opened, and Daniel com>es out. The King
shows great joy in greeting him.]
King: Thy God is truly the living God! Bring forth
the men that have done Daniel this wrong. Cast them into
the lions' den.
[The conspirators are standing in the room, looking at Daniel
in astonishment. The soldiers seize them and push them
down into the den. As they go they cry to the King.]
Conspirators: O King, spare us!
King: I will now sign a decree that in every dominion
of my kingdom men shall bow before the God of Daniel,
for he is the only true God. He delivereth and rescueth and
worketh great wonders; he hath saved Daniel from the
power of the lions.
Daniel: The Lord God will surely bless thee for this
good thing!
End
CHAPTER X
THE DRAMATIZATION OF NEW TESTAMENT
PARABLES
Many of the New Testament parables present
interesting problems for dramatization. The selec-
tion should be limited to those which involve
dramatic situations and unity of structure. The
simplicity and conciseness of words and actions
in many of the parables are quaUties which call
forth a ready and free response from children.
Among the parables which have been worked
out by the dramatic club are The Good SamaritaUy
The Wise and Foolish Virgins, The Great Supper ^
The Talents, The Prodigal Son.
In the case of these short parables the story was
not told first, but the parable was read to the chil-
dren directly from the Bible. There was no dis-
cussion as to the truths supposed to be taught, the
emphasis being placed entirely upon the story ele-
ment involved. The customs of the times and the
division of the story into scenes were discussed as
fully as was done with other stories. Usually
one or two meetings were all that were necessary
for working one of these parables into dramatic
form. When it was completed, the result was not
98
New Testament Parables 99
a finished product, as the words and action had
been interpreted with slight variations each time.
The children learned the story by heart, as it is
given in the Bible. This influenced their words
when they were dramatizing.
Several parables were given together at the
meeting when parents and friends were invited.
One child recited the Bible version just before the
play was given. This feature added interest and
dignity to the occasion.
The parables were given in the following order:
THE wise and foolish VIRGINS
[Ten virgins with their lamps are waiting for the bridegroom.]
First Virgin: The bridegroom tarries; let us rest here
awhile.
Other Virgins: Yea, let us rest.
[They all sit down and go to sleep,]
A Cry Without: Behold, the bridegroom cometh! Go
ye out to meet him!
[All the virgins get up hurriedly. The five wise ones, with oil
in their lamps, stand in readiness. The five foolish
ones are in great confusion.]
First Foolish Virgin: We have no oil! Our lamps are
gone out!
Second Foolish Virgin [speaking to the five wise virgins]:
Give us of your oil — we have none.
First Wise Virgin: Not so, lest there be not enough for
Qurselves and for you. But go ye rather to them that sell,
and buy for yourselves.
[The foolish virgins hasten away,]
r ■*
J J
ic» The Dramatization of Bible Stories
A Cry Without: Behold, the bridegroom cometh! Go
ye out to meet him I
[The Bridegroom comes in, followed by a few attendants.
He walks by, and the five wise virgins follow him. They
go in a door which is closed after them. The foolish virgins
come hurriedly back and rush to the door. They beat on it
atfd call out several times.]
Foolish Virgins: Lord, Lord, open imto us!
[The door opens and the Bridegroom stands there.]
Bridegroom: Depart, I know you not!
End
During the work on this play the question arose
as to the kind of lamps that were used at the time
of the story. The children looked up pictures and
descriptions, and from these they made themselves
lamps out of plasticene or clay. Fig. 8 is a photo-
graph of one of the scenes taken out of doors.
The lamps can be seen, also the simple costumes
which the children worked out.
THE GREAT SUPPER
[The Master of the feast stands in his door and speaks to his
servant.]
The Master: Go, bid my friends come to the supper, for
all things are now readyl
[The servant bows; the Master goes into the house. The
servant walks down the street, and as he meets people he
delivers his Master's message.]
Servant [to the m^n as they come by]: My Master bids
thee come to his feast, for all things are now ready!
New Testament Pakabixs
I02 The Dramatization of Bible Stories
First Man: Say to thy Master that I have bought a
piece of land and must needs go and see it. I pray thee have
me excused.
[The servant bows and the man passes on. The servant
delivers the message to the second man.]
Second Man: I have bought five yoke of oxen; I must
go to prove them. I pray thee have me excused.
Third Man: I have married a wife, and therefore I
cannot come.
[The servant goes back to his Master's house; the Master
comes out to meet him.]
Servant [falls on his knees before his Master] : O sir, I
did as thou commandedst, but one by one they made excuse,
and would not come to thy supper. One man had just
bought a piece of land and must go to see it; another had
bought five yoke of oxen, and was on his way to prove them ;
and another had just married a wife. All begged that thou
excuse them.
Master [shows great anger]: What! They that are bid-
den refuse to come to my feast! Go out quickly into the
streets and lanes of the city, and bring in hither the maimed,
and the halt, and the blind!
[Tfie Master goes into his house y and the servant again walks
down the street.]
Servant [as he meets the lame, the halt, and the blind]:
Come! My Master invites you to a great supper, which is
now prepared at his house!
[Each person, or group of persons, bows and thanks him with
such remarks as] —
Maimed, Halt, Blind: We thank thee; we wiU be there.
We gladly accept this invitation.
[The Master stands in the door to receive his guests as they
come. When they are all in, the servant comes
back to his Master.]
New Testament Parables 103
Servant: Lord, it is done as thou hast commanded, and
yet there is room.
Master: Go out into the highways and hedges, and com-
pel them to come in, that my house may be filled. For I
say unto you that none of those men that were bidden shall
taste of my supper!
[The servant bows; the Master goes in.]
End
THE GOOD SAMARTTAN
SCENE I
Place: The road from Jerusalem to Jericho.
Characters; A Traveler, Thieves, a Priest, a Levite,
a Samaritan.
[A man comes along the road carrying his bundle over his
back. Many thieves rush out from ambush and attack him.
Some knock him down and rob him, while others are looking
anxiously up and down the road. After beating and cutting
the man they go of, thinking that he is dead.
As the traveler lies groaning and begging for water, a priest
comes along the road, but when he sees the man he passes by
on the other side of the road. Also a Levite comes along, and
after looking at the man passes by on the other side of the road.
Then a Samaritan com^s along, and as soon as he hears the
groans he hastens over to the man. He kneels down and looks
at him and speaks.]
Good Samaritan: What is this — a man! Hast thou
been hurt, my friend ?
Man: Oh, help me! Thieves fell upon me and took all
I had, and have left me here to die.
Good Samaritan: I will help thee, my good friend; thy
woxmds shall be bound. Drink this wine. It may help
I04 The Dramatization of Bible Stokies
New Testament Parables 105
thee. Art thou able to get on this beast of mine ? I will
take thee to the inn where thou wilt be cared for. [He helps
the man to rise and supports him as he hobbles off. They
both go out.]
SCENE n
Place: The Inn.
Characters: The Samaritan, the Traveler, the Inn-
keeper.
[The Good Samaritan brings the man to the door of the inn
and knocks. The Innkeeper appears.]
Innkeeper: Good day, sir.
Good Samaritan: Here is a wounded man. Take care
of him. Here is money, and whatsoever thou spendest
more, when I come again I will repay thee. [He gives the
Innkeeper some money. The Innkeeper takes the man.]
Traveler [to Good Samaritan]: God bless you, my
friend!
End
the prodigal son
Act I
Place: In the father's home.
Characters: The Younger Brother, the Father, the
Elder Brother, Servants.
[The Father and Elder Son come into the room together.
The Younger Son comes in from another door.]
Younger Son: Father, give me the portion of goods that
faUeth unto me. I am weary of living at home. I will go
into some far country and make my fortime.
Father: My son, why is it that thou desirest this?
Hast thou not everything at home ?
Younger Son: Yea, father, but I beg of thee to divide
thy living between us. I must have my share.
io6 The Dramatization of Bible Stories
Father: Thou art very foolish; nevertheless I will do
as thou askest. [To servant]: Bring my money bags.
[To Elder Son]: And dost thou intend to take thy living
also, and leave thy father ?
Elder Son: Nay, father, I am fully content to live with
thee; I do not want my portion.
[Servant returns with money bags. Father gives money to
his younger son.]
Father: This is thy share — ^use it wisely.
Younger Son: I thank thee, father. I shall become a
rich man with this; but now I must leave thee; I can stay
here no longer.
• Father: This grieves me, my son, for I know that thou
art foolish — ^but go and learn thy lesson.
[He stretches out his hands toward his son as if blessing him.]
Act II
SCENE I
Place: Along the roadside in a distant coimtry.
Characters: The Prodigal Son, a Farmer.
[The Prodigal Son comes down the road, tired and hungry.
He sits on a rock and talks.]
Prodigal Son: Would that I had something to eat ! My
money is all spent, and there is famine in the land. What
shall I do ? I am sick, and feel that I may soon die. If
I could but find something to do that I might get a little
food.
[A man comes along. The Prodigal Son goes toward him
and falls down before him.]
Prodigal Son: O sir, I am starving unto death. Wilt
thou give me any task to do that I may make enough to
keep me alive ?
New Testament Parables 107
Man: I have no work to be done — ^unless it be to take
care of my swine. Thou wilt find them in yon field; they
need a keeper.
Prodigal Son: I will gladly do this.
\He goes of joyfully.]
SCENE n
Place: In the field with the swine.
Character: The Prodigal Son.
[The Prodigal Son comes in driving the pigs. He sits
doum,]
Prodigal Son: How horrible is this life; I am dying of
himger. No man will give me anything — all I get to eat
is the food that I give the pigs. Oh, I wish that I had never
left home! How many hired servants of my father's have
bread enough and to spare, and I perish with hunger! I
will arise and go to my father, and will say unto him,
" Father, I have sinned against heaven and before thee, and
am no more worthy to be called thy son; make me as one
of thy hired servants."
[He rises and goes away hurriedly.]
Act III
SCENE I
Place: In front of the father's home.
Characters: The Father, the Prodigal Son, the
Servants.
[The Father stands looking for his son.]
Father: It seemeth to me that I see my son coming
home ! I knew that he would come ! I will go to meet him !
[He meets him.] It is my son! [The Father shows great
joy. The Son falls on his knees before his father.]
io8 The Dramatization of Bible Stories
Prodigal Son: Father, I have sinned against heaven and
before thee, and am no more worthy to be called thy son.
Father: Bring forth the best robe and put it on him;
and put a ring on his hand, and shoes on his feet; and bring
hither the fatted calf, and kill it, and let us eat and be merry,
for this my son was dead and is alive again; he was lost and
is foimd!
SCENE n
Place: In the field, near the father's house.
Characters: Elder Son, Servant, the Father.
[The Elder Son is hoeing in the field, A servant conies out.
The Elder Son calls to him.]
Elder Son: I hear music and dancing in the house;
what do these things mean ?
Servant: Thy brother is come; thy father hath killed
the fatted calf, because he hath received him safe and sound.
Thy father sendeth for thee to come in. [The Elder
Brother shows anger.]
Elder Brother: I will not go in. Why should he make
merry over my brother who has wasted his living ?
[The Father comes out.]
Father: My son, wilt thou come unto the feast ? Thy
lost brother hath returned!
Elder Son: Lo, these many years do I serve thee;
neither have I at any time disobeyed thee, yet thou never
gavest me a kid that I might make merry with my friends.
But as soon as thy son was come, which hath wasted thy
Hving, thou hast killed for him the fatted calf.
Father: Son, thou art ever with me, and aU that I have
is thine. It was meet that we should make merry and be
glad, for this thy brother was dead and is alive again; he
was lost and is found. . Come thou in to greet thy brother!
[They both go in.]
End
CHAPTER XI
THE DRAMATIC QUALITIES IN A GOOD STORY
The stories in the Bible, if taken just as they are
given, present a body of material which is compli-
cated by a historical background and a religious
symbolism that is remote from the young child's
experience. They embody the historical incidents
•
as well as the myths and folklore of ancient Hebrew
life, and for the most part they express the highest
idealism of the Hebrew people. There is no reason,
however, why good stories and appropriate inci-
dents may not be given to children from this body
of material through selecting from and simplifying
the biblical version. A great deal of what is in
the Bible should not be used, but there is much
that is highly dramatic and becomes valuable for
dramatization.
It is possible to adapt an incident by simplifying,
and in a measure reorganizing, the parts, and yet
to keep the dignity and integrity of the story as
it is given in the Bible. The attitude of the chil-
dren, created by contact with this t)^e of story,
should be one of reverence and dignity, coupled
with a consciousness of the high ideals of the people
they are impersonating.
109
no The Dramatization of Bible Stories
Before any attempt is made to select parts of the
Bible narrative for dramatization the leader, or
director of the children, should have well in mind
standards which wiU help in making the part that
is chosen a well-organized story. When any good
story is analyzed it is found to be built upon an
underlying basic structure. There is always a
beginning or setting; a middle part, where the inci-
dents rise to a climax; and an end, where the events
of the story are satisfactorily worked out. There
should be a feeling of movement straight through
the story; the incidents should develop; there
should be action that leads to some end. A unity
must underlie the whole story — there must be no
part which is not essential to the working out of
the plan. The end of the story should give a sense
of completeness, of satisfaction.
It is often the case that the three essential parts
of the story call for three acts when the story is
dramatized. In some of our modern dramas five
acts, but in many only three acts, are required in
order to complete the structure. Sometimes, how-
ever, all three parts of a story may be given in a
one-act dramatization. Before a story is drama-
tized it is very necessary that it be told so clearly
that the children are conscious of these parts;
otherwise the resulting drama will lack in organi-
zation. No matter how elaborate or simple the
story, the children should have a feeling for the
Dramatic Qualities in a Good Story hi
basic structure, which should guide the form of
the dramatization.
The leader in charge of a dramatic club in which
Bible stories are used must take the responsibility
of changing the Bible version so as to make an
organic unit of the story and yet keep the spirit
and big meaning. There are many parts of the
Bible narrative which already embody this simple
organization — or division into related elements —
if all of the heavy, unnecessary incidents are
omitted/
Although the main purpose of these dramatiza-
tions is not that an artistic result be secured, yet
that is an important factor, and should be recog-
nized by both the leader and the children. The
product many times will be necessarily crude and
lacking in the aesthetic element, but nevertheless
there should be an attempt, even though gradually,
to train the children toward a recognition and an
appreciation of the artistic qualities of the literary
production they put forth, as well as of the stage
groupings and effects.
'As a matter of fact, it is often the later editorial additions to
the simple old stories that have produced the cumbrous effect.
When the original story is recovered, it lends itself much better
to the purpose here discussed. Such a reorganization of the
stories with a preservation of the bibKcal language has been made
in Soares* Heroes of Israel (The University of Chicago Press),
where also there is much illustrative material interpretative of
the situations.
112 The Dramatization of Bible Stories
Care must be taken that the stories chosen are
ethically sound. The story of Jacob is one that
may well be omitted. Jacob deceives, and yet
all the good things in life come to him — ^he takes
them away from those who rightfully have earned
them. This injustice in the story always raises
a question in the minds of the children, and for
this reason it is not a good story. The stories of
Samson, Jephthah, Jael, and others on this order
should be eliminated for similar reasons. They
are each based upon attitudes toward society and
standards of friendship which are now outgrown.
There are so many simple episodes in the Bible
that can easily be readjusted into well-constructed
stories, about which there can be no question of the
moral value, that no time need be wasted in con-
sidering any story about which there is the least
suggestion of an unethical quality when judged by
our present-day standards.
CHAPTER XII
BIBLE STORIES SUITABLE FOR DRAMATIZATION
The stories which have been taken for drama-
tization in the previous chapters were not chosen
because they are the best ones for that purpose, but
because they represent different kinds of stories
and illustrate the opportunity for various methods
of presentation. There are many other stories and
incidents in the Bible which are equal to, or better
than, those described.
A list of some of these stories is given below,
together with a few of the most essential points
which should be considered in dramatizing each.
No attempt is made to give the story in full or to
elaborate the dramatization; the plan for each is
merely suggestive.
I. SAMUEL
I SAMUEL, CHAPTERS 2 AND 3
The story of Samuel may be worked into a short
play of one or two scenes. The most interesting
and dramatic incident is the familiar one of the
Voice Calling Samuel at Night. The first part of
the story, however, is beautiful, and may be used
along with this incident.
"3
114 The Drabiatization of Bible Stories
In scene i Hannah brings Uttle Samuel to the
temple and dedicates him to the Lord. Eli, the old
priest, takes the child to hve with him in the
temple so that he may train him to serve the
Lord.
Scene ii takes place several years later. It is
night time, and the child Samuel is sleeping near
the old priest, Eli. He thinks he hears a voice
calling him, and he runs to Eli to ask what he wants.
Eli has not called him and tells him to lie down
again. Three times he runs to Eli, thinking that
he hears him calling. Then the priest tells him
that it must be the Lord who has spoken and teUs
Samuel what to say the next time he is called.
Samuel hears the message from the Lord and, upon
EU's request, tells him what he has heard. Eli
realizes that the Lord has spoken truly, and accepts
his fate as just. He praises Samuel and tells him
that he will soon leave the care of the temple and
of the people of Israel to him.
Neither in this play, nor in any other play, should
there be an attempt to represent the Lord's voice.
The child may listen as if he were hearing someone
speaking, and from what he says and does the
audience will be aware of what is happening. For
the sake of the result, from an artistic point of view,
such parts as this should always be left to the
imagination, no attempt being made to interpret
them literally.
Bible Stories for Dramatization 115
2. THE QUEEN OF SHEBA'S VISIT TO SOLOMON
I KINGS, CHAPTER lO
The visit of the Queen of Sheba to Solomon
furnishes a unit of work for a short one-act drama-
tization. There is no plot or complicated situation
involved and there is very little activity suggested.
The attention of the children may well be directed,
however, to the description of Solomon's court and
of the rich gifts which were exchanged. This is an
excellent opportunity to have the children do con-
struction work. They should make many things
which wiU help to give the impression of richness
to the court. They may also make their own
costumes richer by adding jewels and bright-
colored sashes and headdresses.
This little dramatization will include many chil-
dren. A number will be needed to come in with
the Queen of Sheba, and there should be many
attendants upon King Solomon. The conversa-
tion will be for the most part between Solomon and
the Queen, heralds and servants making announce-
ments.
The play opens with the Queen of Sheba's
arrival at the court of Solomon. Messengers
announce her to the King. Solomon talks with
the Queen and she tells him that she admires his
great wisdom and his wealth. Then Solomon com-
mands that the feast be served, and while they eat
ii6 The Dramatization or Bible Stories
the Queen presents her gifts to Solomon. When
the Queen takes her leave Solomon gives her
wonderful presents. The play will end with the
exit of the Queen and her attendants.
Unless the children put much thought upon the
stage setting and the conversation, this incident
may prove uninteresting. It has, however, great
possibilities for the working out of a beautiful
picture.
3. JOSHUA AND the GIBEONITES
JOSHUA, CHAPTER 9
The story of Joshua and the Gibeonites is so
simply told in the Bible that children of nine or
ten years of age can read it as it is given and
dramatize it directly from that version.
The dramatization of this narrative calls for
many characters. The older children may take the
parts of Joshua and the leaders of the Gibeonites,
while the younger ones are needed for Israelite
soldiers and citizens of Gibeon. All the charac-
ters in the play will need to do much acting even
though they do not enter ihto the conversation.
Although the dramatization should be a product
of the children's work, yet the leader should have
well in mind the three main divisions of the story
that she may guide the children by her questions.
This story may be worked into one of the more
Bible Stories for Dramatization 117
elaborate productions. The Bible language should
be used and the result should be full of dignity and
spirit. For detail in the method of presentation
compare that employed in the story of Joseph
(chapter iii).
The story may be given so that the following
divisions or scenes are emphasized:
SCENE I
Place: At Gibeon. Street scene.
The inhabitants are discussing the victories of the
Israelites. They are afraid of Joshua, the leader. Mes-
sengers report that he is advancing toward Gibeon. The
Gibeonites plan to make a league with him so that he will
not destroy their city. They decide to deceive Joshua by
dressing as strangers from a far country, wearing old gar-
ments and taking moldy bread and wine.
SCENE n
Place: Joshua's tent at the camp of Gilgal.
The men from Gibeon come to Joshua and tell him that
they are from a far country. They say that they have heard
of his great victories and wish to make a league with him.
The conversation between Joshua and these strangers is
interestingly given in the Bible and may be quoted almost
exactly. Joshua makes the treaty with them.
SCENE in
Place: At Gibeon.
The IsraeUte soldiers rush into Gibeon to take it, but
find that the inhabitants are the same ragged strangers
with whom they made the league. The Israelites reproach
them, but cannot go back on their word, so spare their lives.
ii8 The Dramatization of Bible Stories
In order to punish the Gibeonites for their deception,
Joshua makes them slaves of the IsraeHtes.
There is much opportunity for construction
work in the dramatizing of this story. Costumes,
pieces of armor, and weapons may be made in a
simple manner by the children.
4. ISAAC AND REBEKAH
GENESIS, CHAPTER 24
The story of Isaac and Rebekah is imusually
valuable for dramatization. It involves a well-
worked-out plot which is beautifully and simply
told in the Bible, and which brings the children in
contact with many interesting customs among the
shepherd people. The story needs little changing;
it may be given almost as it is written.
The following outline for the divisions of the
story is merely suggestive:
Act I
SCENE I
Place: Abraham's tent in Canaan.
Abraham is lying down in his tent. He is talking to
Isaac, his son, about the wife he wishes him to have. He
calls a servant and bids him go to Mesopotamia, his old
home, and bring a wife for Isaac from his own kinsfolk.
Abraham makes the servant swear that he will do as he has
been told. Perhaps Abraham has his hand on Isaac while
he is talking, and Isaac will take some small part in the
conversation.
Bible Stories for Dramatization 119
Act II
SCENE I
Place: Mesopotamia.
The messenger, with his servants, comes to the well just
outside of the dty walls, where the women draw water.
There should be no attempt to represent the camels. These
may be indicated by the conversation and left to the imagi-
nation. The messenger, through prajdng to God, decides
how he shall know which young woman to choose for Isaac.
When Rebekah comes with her pitcher she offers to give
water to him and to his camels also. The man is sure then
that Rebekah is sent by God, and therefore he arranges to
go to her father's house for the night.
This scene should be made very picturesque as
well as interesting. The children may look up
pictures of the wells of those times and then con-
struct something that will serve the purpose.
Pieces of pottery may be brought in on the shoul-
ders of the women to represent water jugs. (Com-
pare with the street scene described in the story of
Ruth, chapter vi.)
SCENE II
Place: Rebekah's home.
In this scene comes the discussion of Rebekah 's leaving
home to become the wife of Isaac. The messenger makes
known to the family that it is Abraham, their kinsman, who
is sending for Rebekah. He gives Rebekah the gifts which
his master has sent — earrings, bracelets, and the Hke. The
family finally decide that Rebekah may go back to Canaan,
but they ask the servant to let her stay with them for ten
I20 The Dramatization of Bible Stories
days longer. He is unwilling to wait, and the question is
therefore put to Rebekah. She answers that she will go
with him now.
Act III
SCENE I
Place: Canaan. A field near Isaac's home.
Isaac walks alone in the £eld at sunset. He is constantly
looking into the distance, and he is wondering when the
messenger will return with a wife for him. At length he
sees the camels approaching and hastens to meet them.
This is all indicated by his soliloquy — no camels must be
shown. The servant and Rebekah have dismounted and
come to meet Isaac. The servant gives Rebekah to Isaac
who embraces her and shows his joy at receiving such a
beautiful wife. The play should end where Isaac turns
toward his father's tent with Rebekah.
While the children are playing this story there
should be much detailed discussion which will give
them an adequate background for understanding
the customs upon which the story is based; and
there should be shown many illustrations which will
insure correct mental pictures.
5. ELIJAH AND THE WIDOW's MEAL
I KINGS, CHAPTER 1 7
This may be used as a very simple incident of
two scenes, or it may be elaborated into a longer
play.
The first scene is placed by the gate of the city
of Zarephath. As Elijah comes toward the gate
Bible Stories for Dramatization 121
he asks a woman, -who is gathering sticks, for a
drink of water. She gives him the water and he
asks for bread. The conversation between them
brings out the facts that there is famine in the land,
and that the widow has hardly enough meal left
in the house to make bread for herself and for her
son. She agrees to divide with Elijah, however,
and takes him into her house. The wording for
this scene may be taken almost directly as it is
given in the Bible.
The second scene is placed in the house of the
widow. The woman and her son are eating with
Elijah. From what they say to each other it is
apparent that the meal and oil have lasted for many
days, and the three people have had plenty to eat
during the famine. The widow is convinced that
a miracle has been wrought by her guest. She
begs him to tell her who he is. The stranger
answers that he is Elijah, the prophet of the Lord,
and that it is through the Lord's care of them that
they have had food enough. The play may well
end here with the final speech from the widow as
it IS given in the Bible: "Now by this I know that
thou art a man of God, and that the word of the
Lord in thy mouth is truth."
In case the part of the story which gives the
raising of the widow's son is used, a third scene
may be added, and the widow's speech would come
at the end of that scene.
122 The Dramatization of Bible Stories
6. elisha and the shunammite
n KINGS, CHAPTER 4
This incident is similar to the story of Elijah
and the widow's meal, and may be dealt with in
the same manner. It should be simplified by
selecting certain parts for dramatization. The
emphasis throughout falls upon the generous
qualities of the two characters — Elisha, ever ready
to help others, and the woman, who always kept
a room for the prophet because she admired his
goodness.
7. DANIEL INTERPRETS THE KING'S DREAM
DANIEL, CHAPTERS I AND 2
The Stories about Daniel have unusually inter-
esting possibilities for dramatisation. They need
very httle explanation. They are so vividly and
beautifully told in the Bible that the children will
understand them readily and have no difficulty in
interpreting them. A few historical facts may be
given to make the setting clear. The following
divisions are suggested for the first story:
SC5NE I
King Nebuchadnezzar brings four Israelites into his
court in order to have them trained as councilors. He
appoints them a daily provision of the king's meat and
wine.
Bible Stories for Dramatization 123
SCENE n
The King dreams a dream and forgets it. He calls all
of his wise men and demands that they tell him what his
dream was and also interpret it. The wise men declare
that this is an impossibility and refuse to obey. Nebuchad-
nezzar is furious and orders that they all be put to
death.
Daniel then comes before the King and asks that the
King give him time that he may interpret the dream. The
King grants this.
SCENE in
Daniel appears before the King again. The King asks
if he is able to tell what the dream was and to interpret it.
Daniel answers that he is able to tell him, not, however,
by his own power, but by the power of God in heaven who
revealeth secrets. Then Daniel gives in detail the dream
and tells King Nebuchadnezzar the meaning thereof. The
King is so affected that he falls on his face and worships
Daniel. He recognizes the God of Daniel, and commands
that Daniel be made governor of Babylon. At DaniePs
request he also makes the three other Israelites rulers of
certain provinces.
This story may be treated in the same manner as
the story of Joseph (chapter iii).
8. SHADRACH, MESHACH, AND ABED-NEGO IN THE
BURNING FIERY FURNACE
DANIEL, CHAPTER 3
This Story may be read to children directly from
the Bible. After they have worked it over several
124 The Dramatization or Bible Stories
times the final product will include three scenes
of the following character:
SCENE I
The heralds come through the streets crying aloud that
King Nebuchadnezzar commands all people to bow down
when they shall hear the musical instruments and worship
the image of gold which he has set up. Those who do not
obey will be put into a burning fiery furnace. The instru-
ments of music sound and all the people fall to the ground
to worship except the three Israelites, Shadrach, Meshach,
and Abed-nego. Some of the men notice that the Jews do
not obey, and go off immediately to tell the King.
SCENE n
The men come before the King and begin their story by
saying, "O King, live forever!" The Bible language may
be used directly here in the conversation which follows.
The King is very angry at what these men tell him. He
orders that the three Jews be brought before him. They
are brought in and the King tells them that they will have
to be put into the fiery furnace if they do not obey. The
Jews are not afraid and reply that their God will take care
of them. The King then orders them to be boimd and
to be taken out to the furnace, which has been heated seven
times hotter than usual. Men come running back to the
King to tell him that the servants which thrust the Jews
into the furnace were burnt up by the heat, but that the
Jews were not harmed. Another man nms in and tells
the King that a fourth person is in the furnace, and that he
resembles the Son of God. Nebuchadnezzar commands
that the three men be brought out from the furnace. They
come before him, with no mark of the fire on them. The
King is so greatly impressed that he toiakes a decree that
Bible Stories for Dramatization 125
no one shall speak against the God of Shadrach, Meshach,
and Abed-nego. He then appoints these three men to
positions of greater trust than ever before.
9. BELSHAZZAR AND THE HANDWRITING ON
THE WALL
DANIEL, CHAPTER 5
This Story, like the others from Daniel, is so
dramatically told in the Bible that it may be taken
almost exactly as it is given. It should be worked
into a one-act play. Much attention should be
given to the setting, and the children may make
many things which will give some idea of the rich-
ness of the banquet hall.
The play opens with the feast of Belshazzar.
The people are making merry in the midst of all
the pomp and luxury of the court. Suddenly the
handwriting appears on the wall. The King and
the people see it and are terrified. The children
shotdd not attempt to show the handwriting, but
from the words and actions of the King and the
people the audience must be made aware of what
is happening. None of the wise men present is
able to interpret the handwriting. The Queen
comes before the King and begs that he send for
Daniel, the Jew. Daniel is brought in, and after
a Uttle thought gives the interpretation. The
scene should end with the recognition of Daniel's
power. The scarlet robe is placed on him and the
126 The Dramatization of Bible Stories
golden chain is put around his neck, and the King
proclaims that Daniel shall be the third ruler in
the land.
lO. THE STORY OF JOB
THE BOOK OF JOB
The most majestic piece of literature in the
Bible, and one of the world's masterpieces, is the
Book of Job. The Prologue and Epilogue are in
the prose epic style, which characterizes the best
narrative portions of the Bible. The main part
of the book is actually dramatic in form, and the
deep problem of human suflFering is discussed in the
loftiest poetic language. The theme is so pro-
found and the imagery so elevated that it is quite
beyond the ability of small children. High-school
students might well present the drama. Many of
the speeches may be abbreviated, while the Pro-
logue can easily be dramatized. Job has been so
presented with great success by children of high-
school age at All Souls' Church, Chicago. It may
be noted that the voice of the Lord was given in an
elevated monotone by a person unseen.
II. THE PROPHETS
For the older children many of the Prophets
make interesting characters for dramatization.
The great value of a study of the Prophets lies in
their appeal as beautiful pieces of literature and
Bible Stories for Dramatization 127
expressions of the deepest spiritual feeling, rather
than in the dramatic situations presented. If a
study is made of the life of the Prophets, and of the
times in which they lived, ample material will be
discovered which may serve as a background for
the dramatization of these characters. This
material is not entirely available from the Bible,
but should be reinforced by outside references,
such as The Prophets of Israel by C. H. Cornill,
The Modern Reader^ s Bible by R. G. Moulton, The
Hebrew Prophets by Chamberlin.
The prophet Amos may be taken as an exampk
of what can be done with this material. The Chil-
dren of Israel are celebrating their autumn festival
with great joy and abandon. As the mirth is at
its highest an imknown man makes his way through
the crowd. He silences the festivity by chanting
his dirgelike reproof to the merrymakers. The
astonishment of the people at this sensational
interruption is great. The high priest hurries
toward him and demands an explanation for this
unusual disturbance. He orders Amos to cease
speaking and to go back to the hills and mind his
sheep. Amos answers that he is sent by the Lord
to reprove the people of Israel, and he continues
to intone his lamentations. The most beautiful
and vivid selections for use in dramatization are
found in chapters 8 and 9. While the final beauti-
ful words of the prophecy are regarded as an
128 The Dramatization of Bible Stories
editorial appendix, there can be no impropriety in
using them as a dramatic dimax. The people may-
then be represented as subdued in spirit, accepting
the upbraiding as being the word of God.
Isaiah, Jeremiah, and other Prophets may be
worked out in like manner. The result in each
case, however, should insure the utmost dignity
and beauty; otherwise the dramatization should
never be attempted.
The many Prophets with their various messages
suggest the possibility of their use in a pageant.
This form of dramatization may be given to
advantage by a group of children as a climax to
their detailed study of the Prophets.
From each of the following subjects several
dramatizations may be taken. They suggest many
short one-act plays, and also some excellent long
ones.
Saul Chosen and Anointed King of Israel. I Sam.,
chaps. 9 and lo.
Samuel Anoints David. I Sam., chap. i6.
David and Jonathan. I Sam., chaps. 18-20.
David Spares Saul's Life. I Sam., chap. 24.
Moses Begs Pharaoh to Allow the Children of Israel to
Leave Egypt. Exod., chaps. 5-13.
It may be well to state, in connection with the
selection of stories from the Bible for dramatiza-
tion, that other stories outside of the Bible may
Bible Stories for Dramatization 129
be dramatized by these same methods and will
accomplish the same results. It is not best to
allow children to dramatize in succession too many
of the heavier type of stories, such as the Bible
stories represent. They may become tired if they
work too long at the same kind of dramatization.
Children need stories which will Ughten and relieve
the extreme seriousness and dignity which they
necessarily have to express in playing the Bible
stories. There is a host of fairy tales, folk-tales,
and historical incidents that may well be adapted
for this purpose.
The Children's Educational Theatre, by Alice
Minnie Herts, describes dramatic work with chil-
dren older than those who made the plays in this
book. It is an interesting experiment in education
which uses dramatization as a means for accom-
pushing certain aims.
CHAPTER XIII
STAGE SETTING AND PROPERTIES
The point has been emphasized in the preceding
chapters that very little stage setting and only a
few properties are used in connection with these
dramatizations. It is always best that as much as
possible should be left to the imagination, and that
only such setting and properties be used as the
children themselves can construct and as are needed
to produce the atmosphere of the play. This point
of view influences any consideration of these
matters.
It is frequently true that, after the children have
made the articles they find a need for, the results
are very crude, and there is yet much opportunity
for free play of the imagination. Great benefit
is derived, however, through the construction of
these objects. The children gain a clearer under-
standing and a keener appreciation of them after
they have had the experience of trying to express
the shape or form through some medium, such as
clay-modeling, paper-cutting, drawing.
Care should be taken that children make nothing
in the nature of stage scenery, such as trees, grass,
bulrushes, and other bits of landscape. The only
130
Stage Setting and Properties 131
stage setting which seems at all necessary for them
to make involves very simple designs which show
the characteristic ornamentation of the times, for
example, the lotus and papyrus designs in Pharaoh's
court.
Drawings and descriptions of a few of the most
essential stage properties and settings are given
below, with suggestions as to where and how each
may be used.
Water jugs and dishes. — ^In the earlier stages of
Hebrew history— as is found to be the case with
aU primitive shepherd people— skins and wooden
bowls were used for holding water, milk, and food.
Clay vessels were probably not in general use
during the nomadic period. When dramatizing
the stories of Abraham and Isaac, and others of
that period, this fact should be taken into account,
and only vessels of wood and skin should be
used.
Most of the clay utensils, which are mentioned
in the stories of a later time, were shaped like those
shown in Fig. 10. Many of the water jugs had
small handles, though some were without handles.
Fig. 1 1 shows the position in which a Hebrew woman
usually carried her water jug.
The Hebrews had little interest in the aesthetic
except in the realm of literature, and the lack is
very evident in their pottery. The water jugs are
far from having the beauty of line and proportion
132 The Dramatization of Bible Stories
which is found in Greek pottery. Whenever any
of these vessels are needed for use in a dramatiza-
tion, it is well to have the children bring jars and
WATER JUG5
DRINKING
BOTTLE
COOKING POT
WATER.
/AILKJUG
DLSH
JUG
Fig. 10
bowls from home which conform as nearly as
possible to the shapes here given. Earthenware
bowls and jars may be used eflfectively.
Stage Setting and Properties
133
WeUs, — ^The importance of wells in the life of
the eaxly Hebrews cannot be overemphasized.
The scarcity of water in the desert made the digging
of wells a necessity for the survival of people and
of flocks. As much of the
land was rocky, wells could
be dug only at certain places.
These favorable places were
the means of determining
where the tents were to be
pitched. In most of the
stories of the nomadic life
wells play a conspicuous
part.
Children shotdd have cor-
rect mental pictures of those
ancient wells, so that they
do not confuse them with the
modern wells. The wells of
Palestine usually had low
stone walls around them, and often big flat stones
for covers. The rocks were piled high enough
to keep animals from falling in. In some of the
wells the water was so low in the ground that
people had to go down steps on the inside in
order to get it. In other wells the vessels were
let down by means of ropes. The women of the
land were always required to draw and carry the
water.
WOy^^AN CARRYING
WATER JUG
Fig. II
134 The Dramatization of Bible Stories
ANCIENT WELUT
IN PALEJTINE
The simplest way for children to represent a
well on the stage is by piling up rocks to resemble
the outside or by using something that will look
like a great stone. Fig. 12 shows two kinds of
wells in Palestine.
Staff and rod, —
The shepherd boy
always had with him
a rod and a staff
(Fig. 13). The rod
was about two and a
half feet long and
was used for pro-
tection. The thick
knob at the end was
cut out of the tree
from which the Kmb
came, and was fre-
quently covered
with knots or nails to make it more terrible as a
weapon. The children may find pieces of wood
which will serve the purpose, or if they live near
a forest they may make their own rods.
The staflF was usually about five feet long. The
shepherd used it to help him climb hills and moun-
tains and also to keep the sheep from straying.
Some staffs were nothing more than the straight
limbs of trees; others had a fork or crook at the
end so that they could more easily catch into the
"T*.i
OS3!!i
Fig. 12
Stage Setting and Properties
135
wool of the sheep when they needed guiding. Chil-
dren may use long sticks or branches from trees
when they represent staffs.
Sling. — The sling which was used in David's
time was frequently woven of rushes, hair, or
JVEMiiT
lAVORDJ'
Fig. 13
sinews; sometimes it was made from soft leather.
From Fig. 14 it will be seen that the shape of the
woven part is wider in the middle and comes to a
point at the end. A string was tied to each end
and the stone was placed in the wide part. The
136 The Dramatization of Bible Stories
sling was whirled around over the head, and as
one string was let loose the stone flew out. When
the sling is used in a dramatization, the stone may
be left to the imagination.
Children take great pleasure in trying to weave
this sling. A diagram of a simple cardboard loom
is given in Fig. 14. The shape should be drawn
on the cardboard, then holes made for the thread
which strings up the loom. Coarse woolen yarn
may be used for the weaving.
Shepherd bag. — The shepherd bag which was
used by David was carried by every shepherd boy
along with the staff, rod, and sling. It was made
Stage Setting and Properties 137
from a piece of skin with a cord at each end. The
cords were fastened to the girdle so that the skin
formed a kind of bag. Pebbles for the sling were
carried in it, and often supplies of food. A piece
of leather or of brown cloth may be easily made into
one of these bags for the children to use.
Sickles. — Sickles were of
two kinds — those made of
metal and those made
of wood. The wooden ones
were toothed with sharp
pieces of flint. Fig. 15 gives
the characteristic shapes.
Children may represent *r\CKLLS
these sickles by cutting the p^^
shapes from stiff cardboard
and coloring them some dark color to make them
look as if they were wood or metal. Some of the
boys may be interested in cutting sickles directly
out of wood.
Scepter. — ^The scepter was used by kings in the
later history of the Hebrews. It was nothing
more than a development of the rod used in the
shepherd period. As a rod it was a means of pro-
tection and power over enemies, and as a scepter it
was a symbol of the same power. Scepters were
sometimes short, with much ornamentation; others
were long, probably five feet in length. They
were all characterized by a ball at the end, and in
138 The Dramatization of Bible Stories
many cases the kings had them made from gold,
or richly ornamented with gold. The Persian
kings used the long scepter, which therefore is
the kind most appropriate for the play of Esther
(see Fig. 16).
Tents. — ^The ancient Hebrew tent was much like
the modern Bedouin tent. It was low and spread
out over the ground, and was made of black goat's
hair cloth. This cloth was usually stretched over
JCEPTBR.
Fig. 16
nine poles, arranged in rows of three and from six
to seven feet in height. The inside of the tent
was divided into two parts by a long curtain which
hung across the middle.
A tent may be represented on the stage by pla-
cing a big thick cloth (a blanket or canvas or dark
curtain) over poles or screens.
Shields. — ^There were two kinds of shields found
among the Hebrews. One was very large and
covered a man from head to foot; it was usually
carried by a shield-bearer. The other was small
and was sometimes called a buckler. Many
different shapes were found in both kinds of shields;
some were like the Egyptian — long, broad, and
straight at the bottom; others were round and
Stage Setting and Properties
139
FRONT AND
^rIDE VIEWJ*
00
oblong. All shields were convex with handles
on the inside to hold them by. The kings had
shields covered with gold, or decorated with gold
and precious stones;
but the common /X JUI^LDtX
soldier had a shield of
wood or stiff leather.
Leather formed the
basis of the shields
that were decorated.
Fig. 17 will show
drawings of some of
the typical shapes.
Children can easily
make shields out of
cardboard; some may
be covered with gold
paper or with dark-
brown paper. A
handle may be glued
or sei/sred in the inside
so that the shield may
be held without
trouble.
Swords. — ^The sword was always himg from the
left side of the sword-belt. It was made from
bronze or iron, and was about seventeen inches
long. Fig. 13 shows some of the usual shapes.
Many swords were two-edged and had leather
Fig. 17
I40 The Dramatization of Bible Stories
sheaths in which they were carried. Children may
make these out of stiflf cardboard, or out of thin
wood. They should be colored a dark color, and
the hilts nfay be decorated with bright colors to
represent jewels.
Spears. — Spears averaged about five feet in
length. The javelin was a long, heavy spear used
for casting; the lance was a lighter spear used for
TRUMPETJ
0=
Fig. i8
defense. All spears had a shaft of wood and a
metal or stone point. Fig. 13 gives several of the
characteristic shapes of spear-points. Spears may
be made by fastening cardboard points to* long
sticks, or by cutting the point directly out of the
wood.
Bows and arrows,— Th.e bows and arrows of the
Hebrews were very much like those of all other
primitive peoples. The bows were often four or
five feet long and the arrows were pointed with
sharp flint or metal. Illustrations of the shapes
are found in Fig. 13. Children need little direction
Stage Setting and Properties 141
in the maJdng of these weapons, a string and some
pliable wood being all that is necessary.
Trumpets. — Fig. 18 illustrates the kinds of
trumpets used. The small ram's-horn trumpet
was associated with the feasts and other public
celebrations, while the long metal horn was used
for the most part by the priests. These metal
trumpets were frequently made from hammered
tTJQNET klNG
Fig. 19
silver. Children can make them out of stiff paper
or thin cardboard and cover them with silver
paper.
Signet ring, — ^A signet ring is something that the
kings were never without. In the earlier times
it was worn on a chain which hung from the neck;
later it was worn on the finger. Fig. 19 gives a
drawing of a signet ring. The design was raised
so that it left an imprint. The king used this
imprint as his royal signature instead of signing
his name. When a signet ring is needed in a
dramatization, as is the case in Daniel in the Lions*
Den, any large ring may be used, or the children
142 The Dramatization of Bible Stories
▼▼?▼????▼?▼?▼?'
TVAVTA-
may be interested in making a ring from paper or
cardboard.
Lamps, — Fig. 20 shows one of the simpler types
of lamps used at the time of Christ. This was
probably the kind referred to in the parable of the
Wise and Foolish Vir-
gins. The lamps
were terra cotta and
held a very little oil.
Children will be
interested in making
these lamps out of
clay or plasticene.
They are almost in
the shape of a shallow
bowl with a handle.
Egyptian design. —
In the scenes placed
in Pharaoh's court a
few decorations sug-
gestive of the Egyptian will add interest. Fig. 21
gives some of the simpler designs which the children
may use for ornamentation. The servants may
carry the large fan-shaped designs, which they make
on stiflf paper. These designs were made from the
lotus and the papyrus plants; the leaves were
usually a blue-green, and red, blue, yellow, white,
and black were used in many designs. Fig. 21
shows some of these designs that were made by the
children and used in representing Pharaoh's court.
EGYPTIAN
DEJIGN
Fig. 21
Stage Setting and Properties 143
As it may be of interest to those who have access
to a library to know where more definite and
detailed information may be secured concerning
the articles that are but briefly described here, the
following works are recommended: The New
HELMETJ
*•*■'.
^
CROWN J-
GYPTIAlSl W
EGYPTIAN
Ax/XV^QIAN EGYPTIAN
Fig. 22
Schaff-Herzog Encyclopedia of Religious Knowledge;
Hastings' Dictionary of the Bible; the Jewish Ency-
clopedia; Kitto, Cyclopedia of Biblical Literature;
three books by W. M. Thomson — Central Palestine
and Phoenicia^ Southern Palestine and Jerusalem,
Lebanon, Damascus, and beyond Jordan; Elmendorf ,
A Camera Crusade through the Holy Land.
CHAPTER XIV
COSTUMING
The question of costuming may be dealt with
in much the same manner as that of stage setting
and properties. Costimies are unnecessary in
many of the simpler plays, and even where they
are used they should be so treated that they are
of minor importance in the minds of the children.
It is nearly always the case that the very smallest
suggestion of a costume — a sash or a cloth around
the head — ^is satisfying and sufficient to produce
the proper atmosphere of the play. There is
danger of placing so much emphasis upon this
phase of the work that the children attach undue
importance to it and thus lose the real spirit of the
dramatization.
If costumes are used they should not be saved
for the final performance, but the children should
have the pleasure of wearing them at each practice
where they are actually living over and over the
lives of other people. Children should get their
ideas of the dress of the times from pictures and
descriptions and then in very simple ways try to
represent what they have observed. The sim-
plicity of the costumes among the Hebrew people
makes the problem comparatively simple.
146 The Dramatization of Bible Stories
There is very little definite knowledge about the
exact costume of the ancient Israelites, for they
have left no records. The only sources of informa-
tion on the subject are the few references to dress
in the Old Testament and the few Jewish figures
found among the Egyptian, Assyro-Babylonian,
and Persian carvings. The conclusion has been
reached, however, that the ancient Hebrew cos-
tume was in general similar to that of the modem
Arab.
It is fairly certain that among the earliest tribes
a simple slip or short tunic, with close-fitting
sleeves, was worn. Later a big loose mantle was
usually thrown over this slip. The little under-
garment was white, woven from wool, or some-
times made out of skins; the outer garment was
frequently striped, a bright color with white.
Among the old patriarchs the outside cloak reached
to the ground. It was often in the shape of a
blanket, and was draped by throwing one end over
the left shoulder, then passing it across the front
of the body and under the right arm, then across
the back, and to the left shoulder again.
At a still later period there was the long gown,
which reached to the ankles and was belted in at
the waist by a girdle. This was sometimes covered
by an outside robe which was like a cape. Fre-
quently these garments were brought over the
heads in order to protect their wearers from the sun*
Costuming 147
As a rule the servants and lower class of people
wore only the one garment — a short tunic, with or
without a girdle. The richer men wore the outside
cloaks. Kings and nobles had many kinds of
Fio. 24. — The costume ot Abraham
cloaks which were very elaborately decorated.
They had silk girdles, while the poorer men wore
leather girdles. See Figs. 23-27 for costumes
made by the children.
The women's dress was very much the same as
that worn by the men. All garments may have
148 The Dramatization of Bible Stories
been a little longer, but the draping and the kinds
of garments were the same. Great ladies had
beautiful veils and shawls.
-the Rich Shepherd and
Both men and women wore sandals. The soles
were made of leather or thick woven cords.
They were fastened to the feet by means of strings
Costuming 149
of leather, linen, or of papyrus. Twp straps were
usually attached to the back of the sandal, then
crossing from the back over the instep they were
tied to a third strap which was fastened at the
front and came between the great and second toe.
Fig. 26. — Costumes, showing sandals made by the children
Fig. 26 shows sandals which were made by the
children.
The headdress in the earlier days was nothing
more than a piece of square cloth, folded diagonally
and placed over the head with the long point at the
back; the two ends were then crossed under the
150 The Dramatization of Bible Stories
chin and thrown back over the shoulders. A cord
was tied around the head to keep the doth on.
Later a kind of turban was worn which had no
loose ends, but which projected over the face
enough to protect one from the sun. Figs. 23-25
Fig, 27. — Costumes
give examples of difiFerent kinds of headdress made
by the children.
The crowns which the kings wore were frequently
of gold, studded with jewels, although the Persian
king had a stifiE cap of felt or cloth, encircled by a
blue and white band. Fig. 22 gives a few of the
typical shapes for crowns.
Costuming 151
The helmets which were worn by the soldiers
were varied. The shapes employed by the As-
syrians and the Egyptians were probably used
among the Hebrews. See Fig. 22 for drawings of
some of the best-known helmets. Children may
make these easily by using cardboard and gilt
paper.
The Hebrew men and women had many personal
ornaments, such as necklaces, armlets, bracelets,
rings. Children dehght in making all kinds of
bracelets and chains from gold and silver paper.
They may bring all the bright-colored beads that
they can get for the enrichment of the costume.
CHAPTER XV
THE ORGANIZATION OF A CHURCH
DRAMATIC CLUB
The kind of dramatics described in this book
may be undertaken with success in connection with
any Simday school. The most necessary element
is a leader in charge who is wide awake to the aims
and purposes of such work and who has the ability
to deal with little children. A trained teacher is
preferable.
This dramatization can be most eflFectively
presented to children between the ages of six and
thirteen. In case the Sunday school is very large
and more children join than can be easily managed
by one leader, it would be best to divide the mem-
bers into two or three smaller groups, each with a
competent leader in charge. One person should
be able to handle well from twenty to twenty-five
children.^
This training ought not to stop with younger
children, but may well be carried on with pupils
of high-school age. This would involve problems
' In church schools which are organizing on the most approved
methods of the correlation of all educational activities the
dramatic club may be a regular part of the junior department,
similar clubs being integral parts of the other departments.
152
Organizing a Church Dramatic Club 153
slightly different from those here presented, but
on the whole the same aims may be achieved.
It is sometimes the case that a few of the chil-
dren outgrow the club. They begin to realize
that they are much larger than the others, and they
decide that they do not care to take part in the
acting, yet they are still interested enough to come
to the meetings. If there is no other dramatic
club into which they may go, then they may be
used as assistants in the younger club and made to
feel that they are a necessary part of it. There
are many ways in which they can be of valuable
help to the leader, at the same time experiencing
a development through the training.
During one year in the history of the dramatic
club here described three girls of. fourteen came
regularly to the meetings. They could not be
persuaded to take part in the dramatizations, but
they expressed an eagerness to help in the direcUon.
They entered into the discussion and criticism of
the plays that were being acted each Sunday, and
their suggestions were always very much to the
point. They had the ability of explaining what
they meant to the children so that it was easily
understood. These girls would write out the
scenes, sometimes while the children were actually
giving them; or, again, they would write them at
home and bring them for discussion at the next
meeting. They took entire charge of the costuming,
154 The Dramatization of Bible Stories
and would meet outside at sewing-bees, where
they mended, pieced, or made over the costumes on
hand. Then at the plays they always took the
responsibility of dressing the little children, putting
on their headdresses, tymg their sashes, and seeing
that their costumes were draped in the right way.
When a dramatic club is first started, it is
advisable to dignify the organization by electing a
president and secretary from among the children.
The president may take charge of the meetings
and then turn them over to the director, and may
help in many ways to keep the club together. The
secretary may call the roll and be responsible for
sending notices to the members. Children always
dehght in this amount of formaUty, and through
it each one becomes a much more vital part of the
group; the responsibility as far as possible is
placed upon the children, and they usually rise to
meet it.
It is hardly practical in most cases to attempt
to hold more than one meeting a week. The time
should be set according to the convenience of the
majority of the members. Sunday afternoon was
found to be the best time for this little dub to
meet, but any week day will do as well. Cteca-
sionally, just before a play is to be given, a few call
meetings may be necessary.
It is desirable that the club own the simple
costumes which the members wear. A costume
Organizing a Church Dramatic Club 155
box is a convenient place for keeping them. The
same garments may be used over and over again,
and should be kept where they may be' easily
obtained at each meeting. The older girls in the
group will be glad to take charge of the costume
box, and they should see that all of the garments are
kept in order. The supply of costumes will grow,
for children will be constantly bringing new things
to add to it.
There are various methods of getting a number of
costumes on hand. The children may bring from
home old sheets and bright-colored shawls and
ribbons, which may be used to advantage. Often
the Sunday school will appropriate a small sum
in order to help buy materials. A very small
amount of money need be spent, for the costunies
must be extremely simple and they should be
planned and made by the children.
The construction work which the children do
in connection with the dramatization is an impor-
tant part in the working out of a play. As already
noted, the greatest value of it lies in the fact that
it represents the eflForts of the children. There is
hardly time at one of the regular meetings to have
the construction work done. A discussion of the
articles needed may be necessary, after which the
children should be encouraged to make them at
home. The older ones are able to look up pictures
and descriptions which will help, while the younger
156 The DRAiiATizATiON OF Bible Stories
ones need to have the matter frequently talked
over in order to give them the correct mental
pictures of what they are to make. It is always
surprising to see how readily children take hold of
this kind of work. They bring in very many
interesting things which they have made — often
things which they have thought out for themselves
and which they had not been asked to make.
There are times when all the members are working
on the same problem, such as lamps for the Wise
and Foolish Virgins. It may be best under these
circumstances to have a meeting outside where they
all work together. (Descriptions of these con-
structed articles may be found in a previous
chapter.)
A word of warning may be in place at this point.
Parents of the children are usually anxious and
eager to help in making costumes and the con-
structed objects. The very best aid that they can
give is to see that the children have the oppor-
tunity for making these things themselves; they
may encourage and guide wisely, but the finished
product must be the child's, not the mother's.
Some mothers have thought that they were doing
the right thing to have a carpenter make the spears
and other weapons for the soldier. The boy derives
more benefit if he looks around for some sticks
which wiU serve his purpose, no matter how crude
they may be.
Organizing a Church Dramatic Club 157
The order in which plays are given in this book
should not be taken as the proper sequence for a
dramatic club. The story of Joseph is described
in detail first because the method used there may
be followed with any of the shorter or longer
stories. This particular story, however, should
not; be the first one presented to children who have
never had such work before. Such stories as
David and Goliath, Abraham and the Three GUfCSts,
or any of the parables should come first. Joseph,
Ruthj and Esther are well worked out by children
after they have had a little experience with dram-
atization.
As a final smnmary, let it be ever kept in mind
that this dramatization functions as a factor in
religious education only when the highest develop-
ment of the children is the aim. It should be. so
conducted that it forms an essential part of the
religious training of the Sunday school, and also
one of the valuable activities of the church.
INDEX
INDEX
Aaron, 55
Abraham, the dramatization of,
84-92, J 18
Ahasuerus, king of Media and
Persia, 70-83
Aims of dramatization, 5, gr-10
Amos, the prophet, 127
Angels, 85, 90
Armor and weapons, 50, 138-40,
151
Bag, shepherd, 136
Banquet, Queen Esther's, 69,
80
Belshazzar, 125
Boaz, 64-66
Bow and arrow, 140
Cardboard, use of, 45, 60, 151
Citizens of Bethlehem, 65
Clay, use of, 100, 131, 142
Cloak, outer garment, 146
Conspirators, 94-97
Construction work, 45, 60, 130-
43
Costumes, 45; the making of,
144-51; the method of ob-
taining, 155
Crowns, 150
Danidy the dramatization of,
93-97, 122, 125
Darius, 93-95
David, 44; the dramatization
of, 46-51, 128
Design, Egyptian, 142
Diagram of loom, 45, 136
Dishes, 131
Education, religious, 6-8, 157
Elijah, 120-21
Elisha, 122
Esther, the dramatization of,
68-83
Feast, 80, 1 1 5-1 6
Fiery furnace, 123-24
Gibeonites, 1 16-17
Girdle, 146
Gleaners, 63
Goliath, 44, 48, 51
Haman, 71-74
Harvest, 59, 61
Headdress, 69, 144, 150
Helmet, 143, 151
Innkeeper, 105
Isaac, 118-20
Isaiah, 128
Jacob, 18, 112
Jael, 112
Jephthah, 112
Jeremiah, 128
Jericho, 103
Jerusalem, 103
Job, 126
161
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